Retro As-1 Manual

User Manual
Retro AS-1 Version 1.1

Mac OS and Windows 95
BitHeadz, Inc. Retro AS-1 Software End User License Agreement For One Computer
WARNING: BitHeadz, Inc. (“BitHeadz”) is willing to grant a non-exclusive license of this software (“SOFTWARE”) to you (“LIC-
ENSEE”) only upon the condition that you accept and agree to all of the terms contained in this license agreement (“AGREE-
MENT”). The term SOFTWARE shall also include any and all modified versions, version updates, and upgrades of the SOFT-
WARE licensed to you by BitHeadz. PLEASE READ THE TERMS CAREFULLY BEFORE INSTALLING THIS SOFTWARE AS INSTALLING
THE SOFTWARE WILL INDICATE YOUR COMPLETE ACCEPTANCE OF THE FOLLOWING TERMS AND CONDITIONS:
1. USE OF THE SOFTWARE: The SOFTWARE is licensed only to you the LICENSEE. This license is not transferred to anyone
without the prior written permission of BitHeadz. Any authorized transferee of the SOFTWARE shall be bound by the terms
and conditions of this AGREEMENT. In no event may you transfer, assign, rent, lease, sell, or otherwise dispose of the SOFT-
WARE on a temporary or permanent basis except as expressly provided herein.
This license allows you to: (a) use the SOFTWARE only on a single computer at a single location at a time; (b) physically transfer
the SOFTWARE from one computer to another provided that it is used on only one computer at a time and that you remove any
copies of the SOFTWARE from the computer from which the program is being transferred; (c) make one (1) copy of the
SOFTWARE solely for backup purposes. You must reproduce and include the copyright notice on the backup copy.
YOU MAY NOT: (a) distribute copies of the SOFTWARE or any written documentation to any other person or entity; (b) loan,
rent, lease, resell for profit , create derivative works based on the SOFTWARE or any part thereof, or grant any form of sub-
license of any rights to the SOFTWARE; (c) electronically transfer the SOFTWARE from one computer to another over a net-
work; (d) provide use of the SOFTWARE in a multiple user arrangement without the prior written consent of BitHeadz.
2. COPYRIGHT The SOFTWARE is owned by BitHeadz. Its structure, organization and code are the valuable trade secrets and
intellectual property of BitHeadz. This SOFTWARE is protected by United States Copyright Law and International Treaty provi-
sions. You agree not to modify, translate, reverse engineer, disassemble, decompile, create derivative works, or otherwise
attempt to discover the source code of the SOFTWARE. You also agree not to modify, translate, reverse engineer, disassemble,
or create derivative works of the written documentation without prior written permission of BitHeadz.
3. NO WARRANTY THE SOFTWARE AND ACCOMPANYING WRITTEN DOCUMENTATION (INCLUDING INSTRUCTIONS FOR USE)
ARE BEING DELIVERED TO YOU ‘AS IS’ AND BITHEADZ CANNOT AND DOES NOT MAKE ANY WARRANTY AS TO ITS USE OR
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THE POSSIBILITY OF SUCH DAMAGES. BECAUSE SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF LIABILITY
FOR INCIDENTAL, CONSEQUENTIAL OR SPECIAL DAMAGES, THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU.
4. ENTIRE AGREEMENT This AGREEMENT will be governed by the laws of the State of California excluding the application of its
conflicts of law rules. This AGREEMENT will not be governed by the United Nations Convention for the international Sale of
Goods, the application of which is expressly excluded. You acknowledge that you have read this AGREEMENT, understand it,
and that it is the complete and exclusive statement of your agreement with BitHeadz, and supersedes any prior written or oral
agreement, and all other communications relating to the subject matter of this AGREEMENT. You agree that the SOFTWARE will
not be shipped, transferred or exported into any country or used in any manner prohibited by the United States Export Adminis-
tration Act or other export laws, restrictions or regulations.
Retro AS-1 and BitHeadz are trademarks of: BitHeadz, Inc. 4400 Capitola Road, Suite 202 Capitola, CA 95010 408-465-9898
408-465-9899 (fax)
Manual Version 980825

Table Of Contents
Table Of Contents
Cover Page ........................................................................................................................... 1
Chapter 1. Introduction ...................................................................................................... 12

1.1 Welcome! ................................................................................................................. 12
1.2 Features ................................................................................................................... 13
1.3 System Requirements ................................................................................................ 14
1.4 Manual Organization ................................................................................................ 15
1.5 Manual Conventions ................................................................................................. 16
Basic Computer Operations .................................................................................... 16
Important Information ........................................................................................... 16
Cross-Platform Manual ........................................................................................... 17
The “Online” Portable Document Format ................................................................ 18
1.6 Mac OS versus Windows 95 ...................................................................................... 19
Output .................................................................................................................. 19
MIDI Input ............................................................................................................ 19
User Interface ........................................................................................................ 19
1.7 Key Concepts ............................................................................................................20
It’s really a Synthesizer ...........................................................................................20
Use it like an instrument ......................................................................................... 20
Program Files ......................................................................................................... 20
Setup Files .............................................................................................................20
Mixer Files .............................................................................................................20
MIDI ...................................................................................................................... 21
Polyphony .............................................................................................................. 21
Output ................................................................................................................... 21
1.8 Software Components ............................................................................................... 22
Retro AS-1 Editor Appli[9tion ................................................................................. 22
Retro AS-1 MIDI Processor Application ................................................................... 22
Retro AS-1 Keyboard Application ............................................................................ 22
Retro AS-1 Mixer Application ................................................................................. 22
Retro AS-1 Status ................................................................................................... 22
Retro AS-1 OMS Input, FreeMIDI Input,
& Serial Input utilities (Mac OS only) ...................................................................... 23
Retro AS-1 OMS & FreeMIDI drivers (Mac OS only) ................................................. 23
Retro AS-1 Windows Device Driver (Win 95 only) ................................................... 23
Retro AS-1 Control Panel ........................................................................................ 23
Retro AS-1 Programs .............................................................................................. 23
Retro AS-1 Engine .................................................................................................. 23
1.9 Who is BitHeadz? ..................................................................................................... 24
Chapter 2. Installation and Setup ....................................................................................... 25

2.1 Audio and MIDI Hardware Setup ............................................................................... 25
Audio Hardware Setup ........................................................................................... 25
MIDI Hardware Setup ............................................................................................ 26
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Table Of Contents
2.2 Mac OS Installation .................................................................................................. 26
How to install Retro AS-1 ....................................................................................... 26
How to deinstall Retro AS-1 .................................................................................... 27
Where the software components are installed (Mac OS) ........................................... 28
2.3 Mac OS Setup ........................................................................................................... 29
Sound control panel or Monitors and Sound control panel? ...................................... 29
2.3.1 Sound Manager setup for non-PCI Macs using the Sound control panel ............ 29
2.3.2 Sound Manager setup for PCI Macs using the Monitors & Sound control panel: .. 31
2.4 Windows 95 Installation ........................................................................................... 34
Before You Install .................................................................................................. 34
How to install Retro AS-1: ...................................................................................... 35
How to deinstall Retro AS-1: ................................................................................... 36
Where the software components are installed (Windows 95) .................................... 37
2.5 Windows 95 Setup.................................................................................................... 38
How To Set Volumes in Windows 95 ....................................................................... 38
Chapter 3. Quick Start ........................................................................................................ 40

Important Synthesizer Information ......................................................................... 40
3.1 Auditioning Sounds with the Keyboard ....................................................................... 41
Keyboard Overview................................................................................................. 41
To Trigger Sounds using the Retro AS-1 Keyboard: .................................................... 41
3.2 Activating MIDI Input ............................................................................................... 43
Overview .............................................................................................................. 43
To Activate MIDI Input on Mac OS: ......................................................................... 43
To Activate MIDI Input on Windows 95: .................................................................. 45
3.3 Basic Editor Operations ............................................................................................. 46
Editor Program File Overview ................................................................................. 46
Editing Programs ................................................................................................... 49
3.4 Basic MIDI Processor Operations ................................................................................50
Overview ...............................................................................................................50
3.5 Parameter Editing Conventions .................................................................................. 52
Chapter 4. Working with MIDI ........................................................................................... 54

4.1 MIDI Overview ......................................................................................................... 54
4.1.1 Key MIDI Concepts ....................................................................................... 55
4.2 External MIDI input (Mac OS) ................................................................................... 56
4.2.1 MIDI Flow within Retro AS-1 ......................................................................... 56
4.2.2 Using Retro AS-1 Serial Input ......................................................................... 57
4.2.3 Using Retro AS-1 OMS Input and Retro AS-1 FreeMIDI Input ............................ 58
4.3 MIDI Software Integration (Mac OS) .......................................................................... 59
4.3.1 OMS and FreeMIDI Overview ......................................................................... 59
4.4 Configuring the OMS Driver ...................................................................................... 60
4.4.1 Configuring OMS MIDI applications................................................................ 62
How to setup Opcode Vision/StudioVision ........................................................ 62
How to setup Steinberg Cubase ......................................................................... 63
4.4.2 Setting up MIDI Clock Sync via OMS .............................................................. 64
Vision/StudioVision Sync Setup ........................................................................ 64
Cubase Sync Setup ........................................................................................... 66
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Table Of Contents
4.5 Configuring the FreeMIDI Driver ............................................................................... 67
4.6 External MIDI input (Windows) ................................................................................. 71
4.6.1 MIDI Flow within Retro AS-1 and Windows 95 ................................................ 71
4.6.2 Retro AS-1 Without 3rd-Party MIDI Applications .............................................. 71
4.6.3 The MIDI Input Port ...................................................................................... 72
4.6.4 Stand-Alone Operation ................................................................................... 72
4.7 MIDI Software Integration (Windows) ....................................................................... 73
4.7.1 Device Driver ................................................................................................ 73
4.7.2 Multimedia Control Panel .............................................................................. 73
4.8 Configuring the Retro AS-1 Device Driver (Windows) ................................................. 74
4.8.2 Configuring the Windows MIDI Mapper .......................................................... 75
4.8.3 Real-World Examples ..................................................................................... 78
4.8.4. Using Retro AS-1 With Third-Party Audio Sequencers ..................................... 82
4.8.5. Audio Sequencers and DirectSound ............................................................... 82
Chapter 5. Control Panel Reference .................................................................................... 83

5.1 Control Panel Overview ............................................................................................ 83
5.1.1 System Performance ...................................................................................... 83
5.1.2 Key Control Panel Concepts ........................................................................... 84
5.2 Configuration settings ............................................................................................... 85
5.3 Controllers Settings ................................................................................................... 87
5.4 Global Effects Settings .............................................................................................. 89
5.5 Input/Output Settings ............................................................................................... 90
5.6 Miscellaneous Settings ............................................................................................... 91
Chapter 6. MIDI Processor Reference ................................................................................. 93

6.1 MIDI Processor Overview .......................................................................................... 93
6.1.1 MIDI Processor Setups ................................................................................... 93
6.1.2 MIDI Processor Files ...................................................................................... 94
6.2 Key MIDI Processor Concepts .................................................................................... 94
6.3 MIDI Processor Menus .............................................................................................. 95
File menu .............................................................................................................. 95
Edit Menu ............................................................................................................. 96
Preferences... ......................................................................................................... 97
Synthesizer Menu .................................................................................................. 99
Windows Menu .................................................................................................... 100
6.4 Setup List Parameters .............................................................................................. 100
The Setup List ...................................................................................................... 100
6.5 Split/Layer Parameters ............................................................................................. 101
Mode radio buttons .............................................................................................. 101
Setup Layers ......................................................................................................... 102
Comments Window .............................................................................................. 103
6.6 Arpeggiator Parameters ............................................................................................ 103
Arpeggiation Type Radio Buttons ........................................................................... 103
Other Arpeggiator Controls .................................................................................... 105
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Table Of Contents
Chapter 7. Editor Reference ............................................................................................... 108
7.1 Editor Overview ...................................................................................................... 108
7.1.2 Key Editor Concepts ..................................................................................... 109
7.1.3 Parameter Editing Conventions ...................................................................... 109
7.2. Editor Menu Items .................................................................................................. 110
File Menu ............................................................................................................. 110
Edit Menu ............................................................................................................ 112
Preferences... ........................................................................................................ 113
Page Menu ........................................................................................................... 114
Synthesizer Menu ................................................................................................. 115
Windows Menu .................................................................................................... 116
7.3 Main Page ............................................................................................................... 116
Oscillator Overview .............................................................................................. 116
Oscillator Parameters ............................................................................................ 117
Oscillator Menus .................................................................................................. 118
Oscillator Sliders ................................................................................................... 120
Filters Overview ................................................................................................... 122
Filter Parameters ................................................................................................... 123
Filter Sliders ......................................................................................................... 126
Configuration Display ........................................................................................... 127
7.4 Modulation Page ..................................................................................................... 128
Routings Parameters ............................................................................................. 128
Modulators Parameters .......................................................................................... 131
Modulator Type Menu ........................................................................................... 133
Modulator Trigger Menu ....................................................................................... 137
7.5 Effects Page ............................................................................................................. 139
Effects Overview ................................................................................................... 139
The Insert Effect Parameters .................................................................................. 140
The Global Effects ................................................................................................ 147
7.6 Global Page ............................................................................................................. 151
Chapter 8: Keyboard Reference ..........................................................................................155

8.1 Keyboard Overview ................................................................................................. 155
8.2 Key Keyboard Concepts........................................................................................... 156
8.3 Keyboard Menus ..................................................................................................... 156
File Menu ............................................................................................................. 156
Edit Menu ............................................................................................................ 156
8.4 Keyboard Parameters ............................................................................................... 158
Chapter 9. Mixer Reference ............................................................................................... 161

9.1 Mixer Overview ....................................................................................................... 161
Using the Mixer with the Editor ............................................................................. 162
Global Effects with the Mixer ................................................................................ 162
9.2 Key Mixer Concepts ................................................................................................. 164
9.3 Mixer Menus ........................................................................................................... 164
File Menu ............................................................................................................. 164
Edit Menu ............................................................................................................ 165
9.4 Channel Strips ......................................................................................................... 167
9.5 Master Section ........................................................................................................ 169
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Table Of Contents
Appendix A: Working with Banks and Programs ..............................................................172
Appendix B: Optimizing Performance ...............................................................................176
Appendix C: Troubleshooting ............................................................................................179
Appendix D: Using Digidesign Direct IO............................................................................183
Appendix E: Analog Synthesis Demystified .......................................................................186
Appendix F: MIDI Implementation .................................................................................... 191

I. The Official MIDI Implementation Chart ...................................................................... 191
II. Supported MIDI Control Numbers .............................................................................. 192
III. System Exclusive Commands .................................................................................... 193
IV. Non-Registered Parameter Numbers (“NRPNs”) ......................................................... 193
Appendix G: Record To Disk .............................................................................................. 201
Appendix H: QuickTime™ Driver .......................................................................................203
Appendix I: OMS Names ...................................................................................................209
Index ................................................................................................................................216
Credits
Manual & Layout By Theo Byassee
Software Created By Steve O’Connell
Software Development By David Sumich & Fernando Martinez
Sales & Marketing By Earl Sondreal
Graphics & Design By André Rocke
Software Quality Assurance By Will Puckett
Special Thanks to:

Mark Gavini Jim Cooper Ed Dickie
Will Oxford Adam Crary Michael Anthony
Bobby Lombardi Andrew Schlesinger Craig Negoescu
Jake Thorne Mike Struble Michael Bernardø
Doug Wood Bob Frye Randy Hollingsworth
Ed Gray Jaime Lagueruela Charlie Clouser
Jonnie Gillham Nick Peck Jim Reekes
Ron MacLeod
Retro AS-1 Manual

Chapter 1: Introduction
Chapter 1. Introduction
Chapter 1 Contents
1.1 Welcome!
1.2 Features
1.3 System Requirements
1.4 Manual Organization
1.5 Manual Conventions
1.6 Mac OS versus Windows 95
1.7 Key Concepts
1.8 Software Components
1.9 Who is BitHeadz?
1.1 Welcome! The official Retro AS-1 logo
Thank you for your interest in Retro AS-1, the full-featured professional
software synthesizer from BitHeadz. At last there is software that is so
convenient and sounds so fantastic, your computer will become your favorite
sound module. Using sizzling new DSP technology, you can recreate the sounds
of all the classic analog synthesizers or create amazing new soundscapes of
your own from scratch with full programmability.
Just imagine. Your creativity will no longer be stifled by “old-school” hardware
limitations on oscillators, filters, modulation, and effects. And of course, it's
fully polyphonic and multi-timbral, with fast response time, and more, all at
a fraction of the price of hardware synthesizers.
Extensive MIDI implementation allows real-time control of all parameters
and easy integration into existing MIDI setups. You can play Retro AS-1 “live”
just like any other musical instrument with layers, splits, and full MIDI
continuous control, or use it as a multi-timbral sound module running behind
your favorite MIDI application on the same computer.
Use the full-featured arpeggiator to generate analog-style “sequences”. You
can even write the synthesizer’s complete multi-timbral stereo output to disk
as an audio file for use in your favorite digital audio applications.
Is it too good to be true? No! Computer hardware and software is finally fast
enough to execute our latest “rocket science” music technology, and you get
to enjoy the benefits of it.
Retro AS-1 will provide you with a wealth of new sonic opportunities. We
hope you enjoy using Retro AS-1 as much as we enjoyed creating it! 8
Retro AS-1 Manual

1.2 Features
General
• Outstanding 16-bit, 44.1kHz sound quality
• Excellent real-time play response time
• 100 percent programmable
• Over 100 parameters; up to 200 values per parameter
• "Musician Friendly" user interface
• Unlimited presets; includes 1000 factory presets
• Full simultaneous MIDI application compatibility
• Up to 32 note polyphony (CPU dependent)
• CPU limiting to accommodate MIDI applications
• On-screen keyboard; no MIDI controller required to trigger sounds
• Ability to write synthesizer output to disk in audio file format (8, 16, or 24 bit)
• Stereo output
Oscillators
• Up to 3 oscillators per voice (not including low frequency oscillators)
• 8-octave range per oscillator
• 9 waveform types: Saw, Pulse, Triangle, Sine, Sine squared, Glottal, Noise (white, pink, red)
• Continuous control of waveform symmetry
• Sync any oscillator to any other oscillator or filter
• Frequency modulation from any oscillator or filter
Filters
• 2 assignable filters per voice
• 13 filter types, including 4-pole resonant lowpass, highpass, bandpass,
allpass, notch, and state-variable
• Multiple inputs allow parallel and/or serial filtering
• Filters can be modulated by oscillators (“poly mod”)
Modulation
• Dozens of modulation routings
• Dozens of envelopes and low frequency oscillators (“LFO’s”)
• Six different LFO shapes
• LFO’s can be synchronized to MIDI clock
• Most parameters are available as a modulation source and/or destination
• Four continuous MIDI controller modulation sources are available simultaneously 9
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Effects
• 2 insert (serial) effects processors per voice
• 2 additional global (parallel) effects processors
• 2 global effect sends per MIDI channel
• Fully parametric and shelf equalizers
• Multiple stereo reverb and reflection algorithms
• Stereo delays, chorus, phaser, and flange
• Overdrive and distortion effects
• Delay times can be synchronized to MIDI clock
Arpeggiator
• Multiple latch and assignment modes
• Enter notes manually or use on-screen keyboard for controller-free play
• Arpeggiator can be synchronized to MIDI clock
MIDI
• MIDI Processor enables full control of layers and splits
• 16 simultaneous MIDI channel multi-timbral
• Real-time control of all parameters simultaneously via NRPNs
• Serial port application included for direct MIDI input (Mac OS only)
1.3 System Requirements

• 32 megabytes RAM
• Compatible CD-ROM drive
• 800 x 600 or higher resolution monitor with 256 (8-bit) or more colors
Mac OS
• 120MHz or faster PowerPC® processor
• Operating system software version 7.6.1 or higher (OS 8 or higher recommended)
• 40 MB free hard disk space (10 MB with HFS+)
Windows 95
• 200MHz or faster Pentium processor
• Direct X supported sound card
• 10 MB free hard disk space
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Retro AS-1 Manual

Package Contents
• Software installer on CD-ROM
• User Manual on CD-ROM
• Registration card
Suggested System Enhancements

• Quality stereo sound monitoring system
• MIDI controller and interface
1.4 Manual Organization

This user manual explains how to install, configure, and use the
Retro AS-1 software synthesizer. There are nine main sections:
Chapter 1: Welcome to Retro AS-1!

• Chapter 1 introduces the user to the product features and
concepts, system requirements, and software components.
Important information about manual organization, conventions,
and Mac OS/Windows 95 differences are also covered here.
Chapter 2: Installation and Setup

• This chapter provides instructions for product installation and
system configuration on the Mac OS and Windows 95 platforms.
Chapter 3: Quick Start

• This chapter is written to get Retro AS-1 up and running quickly
and gives brief instructions for the various software
components.
Chapter 4: Working with MIDI

• This chapter provides details on how to use MIDI with Retro
AS-1 and describes how to integrate Retro AS-1 into existing
MIDI environments with OMS, FreeMIDI, and Windows 95.
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Chapters 5 through 9: Reference Section
These chapters describe each software component function and parameter in full detail.
• Chapter 5: Control Panel Reference
• Chapter 6: MIDI Processor Reference
• Chapter 7: Editor Reference
• Chapter 8: Keyboard Reference
• Chapter 9: Mixer Reference
Appendices
• Appendix A: Working with Banks and Programs
• Appendix B: Optimizing Performance
• Appendix C: Troubleshooting
• Appendix D: Using Digidesign Direct IO
• Appendix E: Analog Synthesis Demystified
• Appendix F: MIDI Implementation
• Appendix G: Record To Disk
• Appendix H: QuickTime™ Driver
• Appendix I: OMS Names
1.5 Manual Conventions

Basic Computer Operations
This manual assumes you are proficient with the computer platform you are using. You should
know how to use the mouse, launch and quit applications, open/save/delete files, navigate the
hard disk, access control panel settings, and similar basic operating system functions.
Important Information
Of course, we recommend reading the entire manual to fully understand and implement the
power of Retro AS-1. However, certain passages contain particularly important information.
Information that is critical to the performance and/or sound quality of the synthesizer is denoted
by “Mr. Waveform” and a cyan highlight box.
Information that is particularly useful for the operation of the synthesizer is denoted by “Mr.
Waveform” and a green highlight box.
12
Retro AS-1 Manual

Cross-Platform Manual
The Retro AS-1 Manual is the same for both the Mac OS and Windows
95 platforms. All information presented is applicable to both systems
unless otherwise denoted by the Mac OS and Windows 95 symbols
shown here.
The red “M” symbol indicates the information pertains only to the
Mac OS platform.
The blue “W” symbol indicates the information pertains only to the
Windows 95 platform.
Screenshots
The manual uses pictures of the computer screen
(“screenshots”) to give a visual aid when describing
features and functions of the software. The user
interface on Mac OS and Windows 95 varies
primarily in the appearance of the windows due to
differences in the operating systems. However,
because the layout within the windows, the objects
contained within them, and their functionality is
identical in both versions, Mac and Windows
screenshots are used interchangeably in this
manual.
When a particular screen is different between the
two platforms, both screenshots will be shown.
Even though they look slightly different, Mac OS and

Windows 95 screenshots are shown interchangably in the
manual if the window(s) have the same functionality.
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Retro AS-1 Manual

The “Online” Portable Document Format
This manual is optimized to take advantage of the most
useful Portable Document Format features. Here are
some Adobe Acrobat Reader tips:
• The Table Of Contents, the Index, and blue
underlined text are active hyperlinks. The cursor
changes to a pointing hand when placed over a
hyperlink. Click a hyperlink to jump directly to the
corresponding linked page.
• The Bookmarks are handy for navigating around
the manual. Bookmark sections can be expanded
or contracted by clicking the disclosure triangle
• The manual opens to a default “view” size of 100%. The Bookmarks and index are active
The view size can be adjusted for readability. Use the hyperlinks. The cursor changes to a pointing
finger when placed over a hyperlink. Click a
Zoom function (click and hold the magnifying glass icon hyperlink to jump directly to the page.
at bottom of window) to change the view size.
• The graphics (screenshots and illustrations) look best

when viewed at the default view size of 100%.
Graphics that look poor when viewed at 100% will
look perfect when viewed at 200%.
• The manual can be printed for “hard copy” from

within the Acrobat Reader application by selecting
Print... from the File menu.
• All the graphics will look good when printed,
regardless of the view size.
Click the bookmark triangles to expand

and contract the hierarchy.
Click and hold the

magnifying glass icon to
change the view size.
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Retro AS-1 Manual

1.6 Mac OS versus Windows 95
The operational features, functionality, and user interface of Retro AS-1 for the PC are nearly
identical to the Mac OS version. The main difference is in the product installation and configuration,
which is unique to each platform due to the underlying hardware and operating system differences.
These differences are detailed in this section.
Output
Retro AS-1 output is routed to the Sound Manager (Mac OS) or DirectSound (Windows 95). Sound
Manager and DirectSound (a sub-component of DirectX) are components of the operating system
that receive audio signals from various sources and are responsible for routing those signals to the
audio outputs. Output can also be written directly to disk with the Record To Disk feature.
The output of Retro AS-1 for Mac OS is directed to the Sound Manager which routes the signal to
the Mac built-in audio outputs, or Digidesign Direct IO. The Sound Manager can be bypassed on
PCI Macs using Direct IO and Digidesign digital audio hardware. The Record To Disk audio file
uses the Audio Interchange File Format (“AIFF”).
Retro AS-1 for Windows 95 requires DirectSound, a sub-component of DirectX. DirectX is the
multimedia software layer of Windows 95 that enables compatibility between many different
hardware configurations. By using DirectSound, Retro AS-1 can be used on the widest variety of
PC computer systems. The Retro AS-1 Installer provides the option to install DirectX. The Record
To Disk audio file format is Wave format (“.wav”).
MIDI Input
To use Retro AS-1 as a MIDI sound module, the synthesizer engine must receive MIDI data. To
receive MIDI data from an external MIDI source, MIDI input must be activated.
Retro AS-1 for Mac OS can receive external MIDI data in three ways: with our direct serial input
port application, or via OMS or FreeMIDI.
Retro AS-1 for Windows 95 can receive external MIDI data from two sources: a standard Windows
MIDI output driver (which is installed when a hardware MIDI input port is installed into the PC
system), or the Retro AS-1 device driver, which is used by third-party MIDI applications to pass
MIDI to Retro AS-1.
User Interface
The user interface varies primarily in appearance variations of the windows due to differences in
the operating systems. The layout within the windows, the objects contained within them, and
their functionality is usually identical.
When a particular screen is different between the two platforms, both screens will be shown and
the differences explained in detail.
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1.7 Key Concepts
It’s really a Synthesizer
All Retro AS-1 functionality is implemented using digital signal processing technology. There are
no samples, wavetables, or digital audio recordings of any kind within Retro AS-1. All audio is
generated on the fly, in real-time, as you manipulate and play back
the sounds.
Use it like an instrument

No additional hardware or software is required to use Retro AS-1. Sounds can be triggered internally
using the on-screen keyboard utility. Using a MIDI controller (such as a MIDI compatible keyboard)
and interface (not included), sounds can be played in real-time like a conventional hardware
synthesizer with layers, splits, and full MIDI continuous control. With the included MIDI drivers,
Retro AS-1 can be used as a multi-timbral sound module, running in the background behind your
favorite MIDI application on the same computer.
Program Files
All synthesizer voicing parameters are accessed using the Retro AS-1 Editor application. Each
Editor file is a complete synthesizer "patch" that includes multiple oscillators, filters, modulation
routings, and insert effects. We call this complete set of voicing parameters a program. The
synthesizer engine loads program files from disk into RAM dynamically as required for playback
on each of the 16 MIDI channels. Groups of related programs can be easily arranged into banks.
Setup Files
The Retro AS-1 MIDI Processor is a powerful performance tool that enables you to modify MIDI
data in the synthesizer engine by programming layers (two programs sounding simultaneously),
splits (two different programs on each side of the keyboard), and arpeggiations (notes in a chord
played sequentially, one at time). The MIDI Processor can be thought of as our own version of the
multis, performances, or combinations in hardware keyboard products. We call one complete
group of layer, split, and arpeggiation settings a Setup. Each MIDI Processor file can contain
dozens of setups.
Mixer Files
Multi-timbral settings can be created and modified using the Retro AS-1 Mixer application. Each
Mixer file contains a complete set of values for bank and program selection, volume, pan, mute,
solo, and global effect send levels on each of the 16 MIDI channels. Global effects parameters can
also be accessed in the Mixer, and their values are stored in the Mixer file. Mixer files enable fast
and easy multi-timbral reconfigurations for use in particular MIDI environments.
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MIDI
Retro AS-1 can run in the background behind your favorite MIDI application
on the same CPU, providing excellent synthesizer timbres without additional
hardware. Up to 4 simultaneous real-time modulations using standard MIDI
controllers can be stored in a program for expressive performances.
Additionally, almost every voicing parameter can be accessed simultaneously
for real-time control using our extensive MIDI implementation.
Retro AS-1 includes a serial port driver that enables direct connection to a
MIDI interface without the hassles of third-party MIDI operating systems
such as MIDI Manager, OMS, or FreeMIDI. However, OMS and FreeMIDI
drivers are included to allow for complete integration into existing MIDI setups.
Retro AS-1 uses any Windows MIDI input (hardware) port for external MIDI
control. Also included is a standard Windows device driver to allow MIDI
connections from MIDI software applications running on the same CPU.
Polyphony
Because there is no dedicated hardware to perform certain tasks, the
computer's CPU must handle all synthesizer routines. Therefore, the available
polyphony is dependent upon CPU type, clock and bus speed, voice
complexity, and other applications that may be running simultaneously.
CPU processing resources can be reserved or limited in the Retro AS-1 control
panel, and polyphony can be restricted to allow use on slower computer
systems.
Output
The Retro AS-1 output signal is sent to Sound Manager (Mac OS) or
DirectSound (Windows 95), which then routes the signal to the audio outputs
for connection to a mixer, headphones, stereo system, recording device, or
any other audio input. Using the Record To Disk feature, the synthesizer
output (including multi-timbral output with effects) can be recorded to disk
as an audio file for use in digital audio applications.
The output of Retro AS-1 for Mac OS goes to the Sound Manager, part of the
Macintosh operating system, for output to the Mac built-in audio outputs.
Proper Sound Manager setup is critical for optimum performance and sound
quality. Third-party digital audio expansion cards can be used for even higher
fidelity and digital I/O.
The output of Retro AS-1 for PC goes to DirectSound (a sub-component of
DirectX), part of the Windows 95 operating system. DirectSound then routes
the signal to the sound card where the audio outputs are located.
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1.8 Software Components
The Retro AS-1 package is a modular collection of eight main software
components, all designed to work together while maintaining ease of
use and sensible functionality grouping. Each of the components is
briefly described below. For detailed component descriptions, refer to
its associated reference chapter. Retro AS-1 Editor
Retro AS-1 Editor Application

The Editor is the main sound design application, where synthesizer
programs are created, modified, and saved. The synthesizer voicing Editor Program file
parameters are accessed here. The Editor is mainly for voicing only; it
does not need to be open to use the synth. For details, see Chapter 7.
Retro AS-1 MIDI Processor Application

Retro AS-1 MIDI Processor
The MIDI Processor is a powerful software controller that allows you
to control layers, splits, arpeggiations, and other “live play” controls.
It receives MIDI data from the synthesizer engine, then processes it
using a variety of functions before returning it back to the engine for
audio output. The MIDI Processor does not need to be open to use the MIDI Processor Setup file
synth. For details, see Chapter 6.
Retro AS-1 Keyboard Application

This is an on-screen keyboard that allows you to audition Retro AS-1 Retro AS-1 Keyboard
sounds without using a MIDI controller. It has several utility functions
for selecting programs and triggering notes and chords. For details,
see Chapter 8.
Retro AS-1 Mixer Application Retro AS-1 Mixer
The Mixer is where you can create, edit, and save multi-timbral mixes.
You can also edit the global effects processors here and set their
individual send levels per MIDI channel. For details, see Chapter 9.
Mixer multi-timbral file
Retro AS-1 Status
The Status window allows you to view polyphony and CPU usage in
real-time. It provides visual feedback to assist in optimizing system
configuration parameters. For details, see Chapter 5.
Retro AS-1 Status
The Status window is always open on Windows 95 when the
synthesizer is active.
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Retro AS-1 OMS Input, FreeMIDI Input,
& Serial Input utilities (Mac OS only)
These utilities are used to get MIDI data from the Macintosh serial
ports to the synth engine during “live play” or anytime OMS or FreeMIDI
applications are not active. They are background applications that are
opened automatically when the Editor, MIDI Processor, or Mixer Serial/OMS/FreeMIDI Input
applications are launched. For details, see Chapter 2.
Retro AS-1 OMS & FreeMIDI drivers (Mac OS only)

These driver components are used in conjunction with third-party MIDI
operating systems to run the synthesizer from within existing MIDI
software environments. They allow you to trigger Retro AS-1 from
Retro AS-1 MIDI Driver
MIDI applications running on the same computer as the synthesizer.
For details, see Chapter 2.
Retro AS-1 Windows Device Driver (Win 95 only)

The device driver for our software “MIDI module” is used by the
Windows 95 MIDI Mapper and/or third-party MIDI applications to
provide a multi-timbral destination for transmitting MIDI information
to the Retro AS-1 synthesizer engine. For details, see Chapter 3. Retro AS-1 Device Driver
Retro AS-1 Control Panel

The control panel is the global settings utility. It allows you to edit
system configuration parameters such as polyphony, CPU usage, sample
rate, MIDI controller assignments, output device, and more. For details, Retro AS-1 Control Panel
see Chapter 5.
Retro AS-1 Programs

The Retro AS-1 Programs folder is where the synthesizer programs are
located. Program files can reside anywhere but must be within the
Retro AS-1 Programs folder to receive MIDI Bank and Program change Retro AS-1 Programs folder
commands. Programs are arranged into banks by creating a folder
hierarchy within the Retro AS-1 Programs folder. For details, see
Appendix A.
Retro AS-1 Engine

Retro AS-1 Engine
The system components are the host-based processors that perform
the actual synthesis. This “synth engine” performs its duties in the
background at the system level, behind all other applications.
Retro AS-1 Objects Library
The synth engine itself, when activated, requires 6 megabytes of system
memory in addition to any other applications being used. 19
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1.9 Who is BitHeadz?
BitHeadz is a software technology company specializing in the design
and development of high quality software solutions for the computer
and professional music industries. Our focus is to provide advanced
software synthesis, professional quality sound sets, custom interactive
content, and audio applications and tools for the PC and Macintosh
environments. With our established expertise in these areas, BitHeadz
is committed to providing the best sounding software in the industry.
BitHeadz long-range goal is to develop interactive music applications
that will target two related markets; the computer industry and the
professional electronic music industry. Current industry data shows
that over the next five years, as a result of the convergence of these
two markets, a significant increase of professional musicians and
hobbyists alike will rely on computer technology to listen, play, enjoy, The official BitHeadz logo
and create music of all types.
www.bitheadz.com
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Chapter 2. Installation and Setup
Chapter 2 Contents
2.1 Audio and MDI Hardware Setup
2.2 Mac OS Installation
2.3 Mac OS Setup
2.4 Windows 95 Installation
2.5 Windows 95 Setup
Please pay special attention to this chapter. You should read the section
for your computer operating system in its entirety. It contains
information that will affect Retro AS-1 sound quality and performance.
2.1 Audio and MIDI Hardware Setup

Retro AS-1 is a high fidelity, stereophonic musical instrument. For
maximum enjoyment, we recommend connecting your computer to a
high quality stereo sound monitoring system such as stereo
headphones, an amplifier/speaker combination, or mixer.
Audio Hardware Setup
IMPORTANT! Turn the volume of your sound system all the way
down until specifically instructed to turn it up.
Most computer sound output jacks accept a standard

stereo 1/8-inch miniplug connector. Some systems
may have RCA jacks for sound output. Use whichever
output is most appropriate for your system.
Connect the computer sound output jack to the line-
level input of your sound system using an appropriate
adapter cable (not included). A typical cable for such
connections is a “stereo 1/8-inch male TRS (tip-ring-
sleeve) miniplug to dual-RCA plugs,” available at any
electronics supply store.
For more detailed instructions on how to interconnect
your audio hardware components, consult the Figure 2.1.1. Connecting the
documentation that came with the audio hardware. computer to a sound system.
Your particular audio setup may
vary.
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MIDI Hardware Setup
Follow the instructions included with your MIDI controller and MIDI
interface to connect them to your computer.
Additional MIDI information, including MIDI software configuration,
can be found in Chapter 4, Working with MIDI.
2.2 Mac OS Installation

This entire section is for Mac OS only. Installation and setup instructions
for Windows 95 is in sections 2.4 and 2.5 of this chapter.
Retro AS-1 has an automated installer that places the necessary software
components where they are needed on your hard disk.
How to install Retro AS-1

1. Insert the Retro AS-1 CD-ROM disk into the
Mac OS-compatible CD-ROM drive.
The CD-ROM icon will appear on the Desktop.
2. Double-click the Retro AS-1 CD-ROM icon
to open the Retro AS-1 CD-ROM window.
3. Double-click the Retro AS-1 Installer icon.
The Retro AS-1 splash screen will appear. Click
Continue to advance to the Read Me screen.
4. Read the important information contained in
the text window.
The text window contains critical information
about Retro AS-1. Click Continue to advance to
the License Agreement screen.
5. Please read the license agreement.
By installing the softw are, you are bound to its
terms. Click A gree to advance to the password
entry screen.
Figure 2.2.1. The Retro AS-1 CD-

ROM window.
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7. Enter your password.
Enter your password from the Retro AS-1 registration card included
in the box. Click OK to advance to the installation options scr een
8. Click Install to install the default software package.
The default Easy Install package is recommended for initial installations.
For advanced installation options, select Custom Install from the
pull-do wn menu.
9. Select a destination for the Retro AS-1 Folder then click
Install.
The Retro AS-1 components will be written to disk at the location
you select using the standar d Mac OS save dialog box. You can
select volumes other than the startup volume for the Retro AS-1
Folder. The required system files will be installed into the System Folder
on the volume you select.
10.That’s it! You do not need to restart when the process is
complete.
Installation is now complete. However, to ensure you have the latest,
greatest version of Retro AS-1, please proceed to step 1 .
11.Download and install the latest version of Retro AS-1 from
our web site.
BitHeadz is committed to ongoing product development. When
product updates are released, they are posted on our web site for
downloading at www.bitheadz.com/Updates.html . Instructions for
updating are included in the update installer.
How to deinstall Retro AS-1

1. Follow steps 1-7 of the installation procedure in the
previous section.
The installation options window appears.
2. Select Uninstall from the install options pull-down menu.
The Uninstall window appears.
3. Click the Uninstall button.
Done! All of the R etro AS-1 components will be moved to the trash.
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Where the software components are installed (Mac OS)
RETRO AS-1 COMPONENT INSTALLED LOCATION
Retro AS-1 Folder User selectable
Retro AS-1 Editor Retro AS-1 Folder

Retro AS-1 MIDI Processor Retro AS-1 Folder
Retro AS-1 Programs Retro AS-1 Folder
Retro AS-1 Manual Retro AS-1 Folder
Retro AS-1 Utilities Folder Retro AS-1 Folder
Goodies Folder Retro AS-1 Folder Figure 2.2.2. Where the

software components are
Retro AS-1 Keyboard Retro AS-1 Utilities Folder installed in Mac OS.
Retro AS-1 Mixer Retro AS-1 Utilities Folder
Retro AS-1 Status Retro AS-1 Utilities Folder
Serial/OMS/FreeMIDI Input Retro AS-1 Utilities Folder

Retro AS-1 Programs alias System Folder: Root Level
Retro AS-1 Control Panel System Folder: Control Panels
Retro AS-1 Engine System Folder: Extensions
Retro AS-1 Objects Library System Folder: Extensions
Retro AS-1 OMS Driver System Folder: OMS Folder

Retro AS-1 FreeMIDI Driver System Folder: FreeMIDI Folder
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2.3 Mac OS Setup
NOTE: If you have a Digidesign audio expansion card installed in
your system, please see also Appendix D.
The Mac OS Sound Manager software needs to be set up correctly for

you to hear maximum fidelity from Retro AS-1. It only needs to be set
up one time; control panel settings are retained even after system
shutdown.
Sound control panel or Monitors and Sound control

panel?
How the Sound Manager configuration windows look depends on
which type of Macintosh you have, non-PCI (older style) or PCI (most
Macs and clones since August 1995). You can usually tell which type
of system you have by looking at the control panel used within the
system software. Look in your Control Panels folder (accessed from
the Apple Menu). If your system has only the Sound control panel,
your system is probably not PCI. If your system has the Monitors &
Sound control panel, you probably have a PCI Mac.
2.3.1 To set up the Sound Manager for non-PCI Macs

using the Sound control panel (skip to
section 2.3.2 for PCI Macs):
1. Turn down the volume of your sound
monitoring system to its minimum setting.
2. Open the Sound control panel.
The Sound control panel is located in the Contr ol
Panels folder, which can be accessed from the Apple
Menu.
3. Choose Volumes from the pull-down menu.
4. Drag the slider bar for Built-in volume all the
way to maximum. Figure 2.3.1. Choosing Volumes
in the Sound control panel.
This is the Macintosh master output level control. It is independent
of the Alert Sounds volume control.
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IMPORTANT! The Volume slider controls the master
system volume. It is a digital level control; the volume is
lowered by “dropping bits.” For maximum signal-to-noise
ratio, leave this control at maximum and use your
monitoring system controls to set the listening levels.
5. Click on the volume slider bar when it is at

maximum while slowly increasing the
monitoring system volume to your desired
listening level.
6. Choose Sound Out from the pull-down menu.
The Sound Out window details shown here may vary
according your Macintosh model.
7. Select the resolution for audio output.
Use the highest settings your Macintosh allo ws for
maximum fidelity . We recommend the following
settings:
Rate: 44.100kHz
Size: 16 bit
Figure 2.3.2. The Sound control
Use: Stereo panel Volumes window. This
setting should always be at
IMPORTANT! The sample maximum for highest fidelity.
rate setting should match
the setting in the Retro AS-1
control panel, otherwise
additional CPU processing
will be required for sample
rate conversions. See
Chapter 5. Control Panel
Reference, for more
information.
Figure 2.3.3. The Sound control

panel Sound Out window. The
Rate setting should always match
the Retro AS-1 control panel
sample rate setting.
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8. Choose Alert Sounds
from the pull-down
menu.
9. Set the system alert
sound volume.
The Alert Volume slider
controls only the level of
the system alert sound. It
is independent of the
Volumes control, which is
the master Macintosh level
control. This setting should
be considerably less than
maximum (typically 30%
or lower), so the s ystem
beep will not be as loud as
the synthesizer output.
10.Close the Sound
control panel.
That’s it! Control panel settings remain current, even after rebooting. Figure 2.3.4. Sound Control Panel
Alert Sounds window. The Alert
volume should be lower than the
Volumes level.
2.3.2 To set up the Sound Manager for PCI Macs using

the Monitors & Sound control panel:
1. Turn down the volume of your sound monitoring system to
its minimum setting.
2. Open the Monitors & Sound control panel.
The Monitors & Sound control panel is located in the Control Panels
folder, which can be accessed from the Apple Menu.
3. Click on the Sound icon at the top of the Monitors & Sound
window
4. Drag the slider bar for Sound Out Level all the way to
maximum.
This is the Macintosh master output level control. It is independent
of the Alert Sounds volume control.
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IMPORTANT! The Volume slider controls the master system volume. Figure 2.3.5. The Monitors &
It is a digital level control; the volume is lowered by “dropping bits.” Sound control panel sound
For maximum signal-to-noise ratio, leave this control at maximum settings. The Sound Out Level
and use your monitoring system controls to set the listening levels. should always be at maximum.
The Sound Output Quality setting
should match the Retro AS-1
5. Click on the volume slider bar when it is at maximum while control panel sample rate setting.
slowly increasing the monitoring system volume to your
desired listening level.
6. Select the Sound Output Quality.
We recommend 44.100kHz for maximum fidelity.
IMPORTANT! The sample rate setting should match the setting in

the Retro AS-1 control panel, otherwise additional CPU processing
will be required for sample rate conversions. See Chapter 5. Control
Panel Reference, for more information.
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Figure 2.3.6. The Monitors &
7. Click on the Alerts icon at the top of the Monitors & Sound Sound control panel Alerts
settings. The System Alert
window. Volume should be lower than the
Sound Out Level (see figure
8. Set the System Alert Volume. 2.3.5).
The System Alert Volume slider controls only the level of the system
alert sound. It is independent of the Sound Out Level control, which
is the master Macintosh output le vel control. This setting should be
considerably less than maximum (typically lower than 30%), so the
system beep will not be as loud as the synthesizer output.
10. Close the Monitors & Sound control panel.
That’s it! Control panel settings remain active, even after rebooting.
Where to go from here

Retro AS-1 installation and basic Mac OS setup is now complete!
You are now ready to use Retro AS-1 as a stand-alone synthesizer with
live MIDI input. Proceed to Chapter 3, QuickStart, to learn the basic
operations of the Retro AS-1 applications.
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2.4 Windows 95 Installation
Before You Install
The Windows 95 computing environment can be complicated,
especially when dealing with multimedia hardware and software. To
ensure proper functionality when adding software and/or hardware
components to your system (and to avoid troubleshooting hassles
later!), operational problems should be resolved BEFORE installing
new component(s).
Please confirm the following steps A, B, and C before proceeding with
the installation of Retro AS-1:
A. Confirm that your sound card supports DirectSound.

Retro AS-1 requires DirectSound (a sub-component of DirectX) version
3.0 or higher. Contact the sound card manufacturer to confirm the
card supports DirectSound. If the sound card supports DirectSound,
the software that came with the sound card probably installed DirectX.
You can confirm DirectX installation and support using the following
technique:
1. Open the Add/Remove Programs control panel.
Add/Remove Programs can be accessed using Start
Menu>Settings>Control Panel.
2. While Install/Uninstall is the active tab, double-click the
DirectX Drivers item in the installed software list.
The DirectX Setup window appears. If DirectX Drivers is not shown Figure 2.4.1. The DirectX Setup
in the list, DirectX is probably not installed. The Retro AS-1 Installer window in the Add/Remove
Programs control panel.
can optionally install DirectX.
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3. Confirm the DirectSound component is Certified.
If the DirectSound component row shows certified, your card
supports DirectSound. If DirectSound shows No hardware support,
your sound card does not support DirectSound.
NOTE: The Retro AS-1 Installer will optionally install the DirectX
drivers to the latest version (5.0) if necessary.
B. The DirectSound-supported sound card and audio monitor-

ing system must be properly installed and configured.
Follow the installation and configuration instructions that came with
the hardware. Verify proper installation by using the MediaPlayer
application that is included with Windows 95
(Start>Programs>Accessories>Multimedia) to confirm playback of
digital audio (.WAV) files.
C. The MIDI interface (if any) must be properly installed and
configured.
Follow the instructions that came with the hardware. Verify proper
installation by confirming your MIDI application is sending and
receiving MIDI. Retro AS-1 will use the MIDI hardware port for MIDI
input.
NOTE: If you have any problems with the hardware or software,

consult the soundcard, MIDI card, or PC manufacturer for assistance.
BitHeadz cannot provide support for items unrelated to Retro AS-1.
The Software Installer

Retro AS-1 has an automated installer that places the necessary software
components where needed on your hard disk.
How to install Retro AS-1:

1. Insert the Retro AS-1 CD-ROM disk into the Windows 95-
compatible CD-ROM drive.
2. Select Run... from the Windows 95 Start Menu.
The Run windo w appears.
3. Type D:Setup into the Open command line and click OK.
The Retro AS-1 Installer window appears. If your CD-ROM drive
letter is not D, substitute the correct letter.
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4. Follow the instructions on the screen.
The installer will guide you through the process.
5. Restart when the process is complete. That’s it!
After rebooting, Retro AS-1 will be r eady for use. However, to ensure
you have the latest, greatest version of Retro AS-1, please proceed
to step 11.
6. Download and install the latest version of Retro AS-1 from
our web site.
BitHeadz is committed to ongoing product development. When
product updates are released, they are posted on our web site for
downloading at www.bitheadz.com/Updates.html . Instructions for
updating are included in the update installer .
How to deinstall Retro AS-1:

1. Make sure all Retro AS-1 components are quit.
The Editor, Keyboard, MIDI Processor, Mixer, and any MIDI
application(s) using the Retro AS-1 device driver must be closed.
2. Open the Add/Remove Programs control panel.
Add/Remove Programs can be accessed using Start
Menu>Settings>Contr ol Panel.
3. While Install/Uninstall is the active tab, select Retro AS-1
from the installed programs list then click the Add/Remove
button.
The confirm File Deletion window appears.
4. Click Yes to remove Retro AS-1 from your system.
The installed Retro AS-1 components will be deleted. However, the
device driver must be manually deleted.
5. In the Multimedia Properties control panel, click the
Advanced tab.
The Retro AS-1 device driv er is accessed here.
6. Click the plus sign next to MIDI Devices and Instruments.
The list of installed MIDI devices is displayed.
7. Double-click Retro AS-1 in the list.
The Retro AS-1 Properties window is displayed.
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8. Click Remove to delete the Retro AS-1 device driver then reboot.
Retro AS-1 deinstallation is now complete.
Where the software components are installed (Windows 95)
RETRO AS-1 COMPONENT INSTALLED LOCATION
Retro AS-1 Folder User selectable
Retro AS-1 Editor Retro AS-1 Folder

Retro AS-1 MIDI Processor Retro AS-1 Folder
Retro AS-1 Keyboard Retro AS-1 Folder Figure 2.4.1. Where the
software components are
Retro AS-1 Mixer Retro AS-1 Folder installed in Windows 95.
Retro AS-1 Manual Retro AS-1 Folder

Retro AS-1 Programs \Windows\
RetroCfg.dll \Windows\System\
RetroAS1.cpl \Windows\System\
RetroAS1.drv \Windows\System\
RetroAS1.vxd \Windows\System\
RetroAS1.exe \Windows\System\
RetroLib.dll \Windows\System\
RetroAPI.dll \Windows\System\
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2.5 Windows 95 Setup
Windows 95 needs to be set up correctly for you to hear maximum
fidelity from Retro AS-1.
How To Set Volumes in Windows 95

Windows 95 controls the master system volumes for all devices using
its built-in digital mixer and Volume Control application. For maximum
fidelity within Retro AS-1, it is important to set up the system volumes
correctly.
1. Open the Volume Control application (SNDVOL32.EXE).

Volume Control can be accessed from the Start Menu
(Start>Programs>Accessories>Multimedia>Volume Control) or by
double-clicking the Speak er icon at the right side of the Task Bar.
The executable file SNDVOL32.EXE is located in the Windo ws
directory. Figure 2.5.1. Accessing Volume
Control from the Start Menu.
Figure 2.5.2 You can also double-

click the Task Bar speaker icon to
open Volume Control.
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2. Move the MIDI slider
to maximum.
This control sets the
output level of the
Retro AS-1 synthesizer
engine relative to the
other sliders (CD
Audio, Wave, etc.)
3. Move the Volume
Control (leftmost
slider) to maximum.
This control sets the
master output of the
sound system (it effects
all the other sliders).
IMPORTANT! These
sliders control the master
system volumes. They
are digital level controls;
the volume is lowered by
“dropping bits.” For maximum signal-to-noise ratio, leave the MIDI Figure 2.5.3. The Volume Control
and Volume Control sliders at maximum and use your monitoring interface. The MIDI slider should
be at maximum. The “master”
system controls to set the listening levels. Volume Control slider (far left)
should be as high as possible
4. Slowly increase the monitoring system volume to the desired before the onset of clipping
listening level while sound is playing from the computer. distortion.
Use any audio source (Audio CD, WAV file, MIDI file , etc) for setting
the monitoring volume. Media Player (accessed from Start Menu,
same location as Volume Control) is great for playing any media
quickly.
5. If clipping (digital distortion) occurs, lower the Master
Volume Control (step 3) while monitoring the output just
until the clipping disappears.
6. Done! You may close Sound Control or leave it open.
Where To Go From Here

Figure 2.5.4. This “mini slider”
Retro AS-1 installation and basic Windows 95 setup is now complete! pops up when you click once on
the Task Bar speaker icon. You
You are now ready to use Retro AS-1 as a stand-alone synthesizer with can use it to control the master
live MIDI input. Proceed to Chapter 3, QuickStart, to learn the basic system volume.
operations of the Retro AS-1 applications. 35
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Chapter 3. Quick Start
Chapter 3 Contents
3.1 Auditioning Sounds with the Keyboard
3.2 Activating MIDI Input
3.3 Basic Editor Operations
3.4 Basic MIDI Processor Operations
3.5 Parameter editing conventions
In this chapter you will learn how to play sounds using the Retro AS-
1 Keyboard and a MIDI controller. Basic operations of the Editor and
MIDI Processor applications are also covered here.
Advanced MIDI operations for Mac OS and Windows 95 are covered
in Chapter 4; Working with MIDI.
Detailed explanations of every Retro AS-1 component and their
parameters are covered in the Reference section of this manual which
begins with Chapter 5.
All instructions included here assume you have already completed the
installation and setup processes described in Chapter 2. If you haven’t
already installed the software, connected your audio and MIDI
hardware, and configured the Sound Manager (Mac OS) or Volume
Control (Windows 95) as described in Chapter 2, please do so before
continuing with this chapter.
Important Synthesizer Information

We strongly recommend reading the Key Concepts section in Chapter
1 before proceeding. It contains a general overview of the product and
how it works.
Retro AS-1 is comprised of several “modular” software components.
The main component is the synthesizer engine. The synth engine is
the component that produces the audio signal. The other modules
(Keyboard, Editor, MIDI Processor, Mixer, MIDI driver) are components
that control the synth engine.
IMPORTANT: The synth engine cannot be opened directly. It is only

launched when activated by one of the other components.
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3.1 Auditioning Sounds with the Keyboard
Keyboard Overview
The Retro AS-1 Keyboard application is an on-screen utility for triggering
Retro AS-1 sounds without a MIDI controller or any other MIDI
hardware or software. The Keyboard allows you to trigger a 9-octave
range of individual notes and chords, change the active voice selection,
control note velocity values, and transmit controller information. The
Keyboard is the most direct and least complicated method of triggering
sounds. It requires no MIDI input and very little CPU and RAM
resources.
NOTE: Each Keyboard parameter and its function is explained in

detail in Chapter 8.
To Trigger Sounds using the Retro AS-1 Keyboard:

1. Launch the Retro AS-1 Keyboard application.
The Keyboard window will appear.
Figure 3.1.1. The Keyboard

window. Where you click
on the keys (top or
bottom) determines the
MIDI velocity for the note.
With Mac OS, you can open the application in tw o ways: by choosing
Keyboard... from the Synthesizer menu within the Editor, MIDI
Processor, or Mixer applications, or by double-clicking the Retro AS-
1 Keyboard application icon. Retro AS-1 Keyboard is located in the
Retro AS-1 Utilities folder, inside the Retro AS-1 Folder.
With Windows 95, you can open the application in three ways: by
choosing Keyboard... from the Synthesizer menu within the Editor,
MIDI Processor, or Mixer applications; by double-clicking the Retro
AS-1 Keyboard application icon; or Start Menu>Programs>Retro AS-
1>Retro AS-1 Keyboard. The application is installed (by default) at
the following location: Program Files/BitHeadz/Retro AS-1/Retro AS-
1 Keyboard.exe.
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2. Click on the black and white “keys” to trigger sounds.
Clicking a key sends the corresponding MIDI pitch to the synthesizer.
You are now hearing the active program file. Where you click on
the key determines the velocity value of the note. Clicking towards
the top of the key transmits a lower velocity for the note; clicking
towards the bottom of the note transmits a higher velocity value.
The computer QWERTY keyboard will also trigger sounds when
the Keyboard application is active.
IMPORTANT! If you don’t hear sound output from the Keyboard or

sound quality is poor, refer to Appendix C, Troubleshooting.
3. Select and audition various voices.

The program that is displayed under the Program pull-down menu is
the program you will hear. Use the Bank and Program menus to
select various factory programs to familiarize yourself with the
amazing sonic capabilities of Retro AS-1.
NOTE: If the Editor is open, you can select Editor from the Bank and
Program menus, allowing you to hear and modify the program(s)
that are currently loaded into the Editor.
NOTE: More information about Banks and Programs is covered in

Appendix A, Working with Banks and Programs.
4. Experiment with the Chord and Range functions.

Multiple notes can be triggered with the Chord function. Use the
pull-down menus to change the chord quality and the octave range.
In most of the factory programs, Controller A will affect the sound.
We invite you to try the Controller A slider when auditioning programs
(refer to figure 3.1.1).
Important! If synthesizer performance is poor (limited polyphony

and/or sluggish CPU response), see Appendix B, Optimizing
Performance.
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3.2 Activating MIDI Input
NOTE: This section is about using Retro AS-1 “stand alone” with a
MIDI controller. For information about integrating Retro AS-1 with
third-party MIDI applications, see Chapter 4, Working With MIDI.
Overview
Retro AS-1 can be “played” just like any other MIDI sound module
using a MIDI controller and interface. Such situations include playing
the synthesizer live, using a hardware (external) sequencer, or running
MIDI applications on a separate computer. How MIDI input is activated
is determined by the computer platform.
In .Mac OS, when the synth engine launches, Retro AS-1 Serial Input
(the direct serial port driver application) launches automatically when
“Serial” is selected as the Default MIDI Input source in the Retro AS-1
control panel. Retro AS-1 Serial Input receives MIDI information from
the Macintosh serial port and passes it directly to the synth engine. It
is used any time you want to use Retro AS-1 as a sound module without
using OMS or FreeMIDI. Retro AS-1 Serial Input remains active when
it is in the background.
In Windows 95, when the synth engine launches, Retro AS-1 “grabs”
the default hardware MIDI input port if “use Direct MIDI Input” is
selected in the Retro AS-1 control panel. The default MIDI hardware
port that will be used is specified in the Retro AS-1 control panel.
Once the MIDI input port is in use by Retro AS-1, it cannot be used by
another MIDI application. Conversely, if another MIDI application
“grabs” the MIDI input port before Retro AS-1 is launched, the MIDI
input port will be unavailable to Retro AS-1. Installed MIDI hardware
devices can be viewed in the System Properties Device Manager (System
control panel) under Sound, video and game controllers.
To Activate MIDI Input on Mac OS:

1. Verify the MIDI hardware is properly connected.
You will need a MIDI controller (or something else that transmits
MIDI), MIDI cable, MIDI interface, and serial cable (none are included
with Retro AS-1). Follow the installation instructions that came with
the MIDI hardware.
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2. Launch the Serial Input application.
Double-click the Retro AS-1 Serial Input application icon from the
Mac OS Finder. The application is located in the Retro AS-1 Utilities
folder, inside the Retro AS-1 Folder. The Serial Input application
window will be visible.
NOTE: Retro AS-1 Serial Input is launched automatically when the Figure 3.2.1. The Serial Input
Editor, MIDI Processor, or Mixer application is launched. This default window. The application is used
action can be disabled in the Retro AS-1 control panel. to get MIDI from the serial port
to the synth engine. The “LEDs”
indicate incoming MIDI activity
3. Choose the MIDI port you are using. on each of the 16 MIDI channels.
When Serial Input is the active (foremost) application, the Port menu
will be visible . Choose the Macintosh serial port your MIDI interface
is connected to from the Port menu. Select either Printer or Modem.
For PowerBooks with only one serial port, select Modem. If you have
a MIDI Time Piece in Fast mode, choose Fast from the Port menu.
The active selection is indicated with a check mark.
IMPORTANT! If you are using the Printer port for MIDI connections,
AppleTalk must be unloaded while using MIDI. To unload AppleTalk, Figure 3.2.2. The Port menu in
make it Inactive in the Chooser utility, which is accessed from the Retro AS-1 Serial Input. Select the
Apple Menu, then reboot. serial port your MIDI interface is
connected to.
4. Trigger sounds using the MIDI source.
Now you can “play” your computer lik e a MIDI sound module . You
can select different programs using MIDI program change commands
or the Keyboard, Editor, MIDI Processor, or Mixer applications. You
can modify programs in real-time while receiving MIDI from the
controller using the Editor if the MIDI Channel parameter on the Editor
global page matches the MIDI transmission channel. If you are
transmitting MIDI to the synthesizer on more than one channel, you
can use the Retro AS-1 Mixer to specify the synthesizer’s multi-timbral
settings.
IMPORTANT! The Serial Input utility requires a Macintosh hardware

module called Serial DMA which is built into most PowerMacs. Serial
Input will display the message “This Macintosh does not have the
hardware required to support the Serial DMA Driver” on Macintosh
models that do not support Serial DMA. In this case, the OMS or
FreeMIDI systems must be used to get MIDI into Retro AS-1. See 40
Chapter 4 for more information.
Retro AS-1 Manual
To Activate MIDI Input on Windows 95:
1. Verify the MIDI hardware is properly connected and
configured.
You will need a MIDI controller (or something else that transmits
MIDI), MIDI cable, and MIDI interface (none are included with Retro
AS-1). F ollow the installation instructions that came with the MIDI
hardware.
2. Verify no other MIDI applications are active.
The first MIDI application to launch (usually) “grabs” the MIDI input
hardware port. Quit all MIDI applications to ensure the MIDI input
port is available to R etro AS-1.
3. Launch the synth engine to activate MIDI input.
The synth engine is launched
whenever a Retro AS-1 component
(Keyboard, Editor, MIDI Processor,
Mixer, MIDI driver) is launched. For
this example, launch the Retro AS-1
Keyboard using the method
described in the pr evious section.
The synth engine “gr abs” the MIDI
input port (this default action can be
disabled) specified in the Retro AS-1
control panel.
Important! If multiple MIDI input hardware ports are installed in your Figure 3.2.3. In Windows 95
only, the Retro AS-1 window is
system, the input port you want Retro AS-1 to use is specified in the open whenever the synth engine
Retro AS-1 control panel. The default selection is port ID #0. is active. The “LEDs” indicate
incoming MIDI activity on each
4. Trigger sounds using the MIDI source. of the 16 MIDI channels.
Now you can “play” your computer lik e a MIDI sound module . You
can select different programs using MIDI program change commands
or the Keyboard, Editor, MIDI Processor, or Mixer applications. You
controller using the Editor if the MIDI Channel parameter on the
Editor global page matches the MIDI transmission channel. If you are
transmitting MIDI to the synthesizer on more than one channel, you
can use the Retro AS-1 Mixer to specify the synthesizer’s multi-
timbral settings.
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3.3 Basic Editor Operations
The Retro AS-1 Editor is the main sound design application, where
synthesizer programs are created, modified, and saved. All voicing
parameters are contained within the program. Each program file is a
complete synthesizer “patch.”
This section explains how to open, audition, and edit voice documents.
NOTE: The primary function of the Editor is to create and modify

synthesizer program voicings. It does not need to be open to play
existing programs.
NOTE: Each Editor parameter and its function is explained in detail in

Chapter 7.
Editor Program File Overview

When the Retro AS-1 Editor application is launched, a standard
document file window appears. This file contains all of the synthesizer
voicing parameters and is called a Retro AS-1 program. Each program
is a complete synthesizer "patch" that includes multiple oscillators,
filters, modulation routings, and effects. The program can be edited as
desired and saved as a file.
So, to audition or edit your favorite synthesizer voice, just open it
from disk using the standard open file dialog box. When you are finished
auditioning and/or modifying the voice, you may save it under the
same or different name or just close the file window without saving.
The Editor application and its program files can be thought of as similar
to a word processor, spreadsheet, or other application and its associated
document files. Multiple program windows can be open simultaneously;
the frontmost active window (the one with grey lines in the title bar)
is always the active program available for auditioning.
Opening and Saving Program Files

To Open Existing Programs from Disk:
1. Launch the Retro AS-1 Editor application.
With Mac OS, you can open the application in two ways: by choosing
Editor... from the Synthesizer menu within the Keyboard, MIDI
Processor, or Mixer applications , or by double-clicking the R etro AS-
1 MIDI Processor application icon. The Retro AS-1 Editor is located
at the root level of the Retro AS-1 Folder. 42
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With Windows 95, you can open the application in three ways: by
choosing MIDI Processor... from the Synthesizer menu within the
Keyboard, MIDI Processor, or Mixer applications; by double-clicking
the Retro AS-1 Editor application icon; or from Start
Menu>Programs>Retro AS-1>Retro AS-1 Editor. The application is
installed (by default) at the following location: Program Files/BitHeadz/
Retro AS-1/Retro AS-1 Editor.exe.
2. Open a program file.
Choose “Open...” from the File menu (make sure Retro AS-1 Editor
is the active application). Navigate to the Retro AS-1 Programs folder
at the root level of the Retro AS-1 Folder using the standar d open
file dialog bo x routines. Select the program file you want, then click
Open. The program appears in a window. At this point, the program
is activ e and ready to be auditioned and/or edited. Alternately, you
can double-click a program file to open it.
NOTE: Multiple program files can be open simultaneously; the Figure 3.3.1. The main page, one
frontmost window is always the active program. If more than one of four parameter pages in a
program file. All voicing
program file is open, you can switch between them using the parameters are accessed using
Window menu. the Editor.
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NOTE: Sounds can be triggered from within the Editor by pressing
the space bar. This option, and the note that is played, can be changed
in the Preferences window under the Edit menu.
To Create a New Program File:

1. Launch the Retro AS-1 Editor application.
If it isn’t open already, launch the Editor using the methods described
in the previous section.
2 Select New... from the File menu.
A new default program window appears. The program can now be
auditioned and/or edited as desired. The default program has very
basic settings but should always produce a sound output.
NOTE: A new default program is created every time the Editor is

launched. This factory default action can be disabled in the Editor
Preferences window, which is accessed from the Edit menu in the
Editor.
NOTE: The default program can be customized. See “Save as ‘New’

Template” in Chapter 7, section 7.2.1 for details.
To Save the Changes in a Program file:

1. Activate the program you want to save.
2. Choose Save from the File menu.
If you choose Save from the File menu, the original document will
be permanently overwritten and cannot be recovered. (F actory
programs can always be restored from the CD-ROM.) To save the
file without overwriting the original document, use the Save As...
command, described below.
To Save a Program with a New Name Leaving the

Original File Untouched:
1. Activate the program you want to save.
2.
Choose Save As... from the File menu.
Save As... will write a new file to disk and change the name in the
title bar of the active file windo w. To overwrite the existing file
without creating a new file, use the Save command.
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3. Type a new name for the file.
If you are saving to a different location than the original file , you can
use the same name without overwriting the original file .
4. Select a location for the new file.
Navigate to the location of your choice using the standar d save dialog
box routines.
5. Click Save to write the file to disk.
If you select the same location as the original file and use the same
name, you will be ask ed if you want to replace the original file with
the new file.
Editing Programs
Editor Overview
Programs can be edited by altering parameters in the factory
sounds or by creating a new voice from scratch by selecting
New from the File menu.
There are four pages of parameters in a program: Main
(oscillators and filters), Modulation, Effects, and Global. Each
page contains a group of related parameters. Change pages by
selecting from the Page menu, or click the page tabs at the top
of the voice window.
All parameters in a program are always active and available for
editing. Experiment with changing parameter values to see what
affect they have on a sound. Studying the factory program
settings is a good way to learn how parameters interact to get a
particular sound.
Figure 3.3.2. Pages within an

Editor program can be selected
from the Page menu or by
clicking the page tabs within the
program window.
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It Ain’t Broke!
You may find that changing a parameter value does not affect the
sound. This can be a common occurrence, but it does not mean
something is wrong. A synthesizer is a complex device. Oscillators,
filters, and modulations can all affect each other, depending on signal
routings.
If the parameter you are changing belongs to a component that is not
active (for example, changing the frequency of an LFO that is not
assigned to a destination), the change will have no effect. Additionally,
a parameter may be under the control of another parameter. For
example, lowering the filter cutoff directly will have no effect if that
filter is already opened by a modulator such as an envelope.
NOTE: For related information, see Appendix E, Analog Synthesis

Demystified.
3.4 Basic MIDI Processor Operations

Overview
The Retro AS-1 MIDI Processor allows you to modify MIDI data in the
synthesizer engine. It is here that you can program layers, splits, and
arpeggiations. The MIDI Processor can be thought of as our own version
of the Multis or Combinations of other manufacturer’s hardware
keyboards. Each MIDI Processor document file can contain dozens of
layers, splits, and arpeggiations that we call “Setups”.
Once launched, the MIDI Processor remains active even when running
behind other applications, such as the Editor. For example, you can
edit your favorite programs in real time while playing an arpeggiation.
The MIDI Processor is most effectively used with a MIDI controller,
although the Retro AS-1 Keyboard and MIDI applications can be used
as well. Several setups were placed in the MIDI Processor Setups folder
at the root level of the Retro AS-1 Folder during installation. These
Setup files demonstrate the versatility and sonic power of Retro AS-1.
NOTE: Each MIDI Processor parameter and its function is explained

in detail in Chapter 6.
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To use the MIDI
Processor:
1. Launch the MIDI
Processor
application.
With Mac OS, you can
open the application in
two ways: b y choosing
MIDI Pr ocessor... fr om
the Synthesizer menu
within the K eyboard,
Editor, or Mix er
applications , or b y
double-clicking the
Retro AS-1 MIDI
Processor application
icon. The R etro AS-1
MIDI Pr ocessor is
located at the root level
of the Retro AS-1 Folder. Figure 3.4.1. The MIDI Processor
window. Each setup name in the
With Windows 95, you can open the application in thr ee ways: by list on the left represents a
choosing MIDI Pr ocessor... fr om the Synthesizer menu within the complete setup with unique
parameter values. Click the setup
Keyboard, Editor, or Mixer applications; b y double-clicking the R etro name to make a setup active.
AS-1 MIDI Pr ocessor application icon; or from Start
Menu>Programs>Retro AS-1>Retro AS-1 MIDI Processor. The
application is installed (by default) at the following location: Program
Files/BitHeadz/Retro AS-1/Retro AS-1 MIDI Processor.exe.
2. Open a MIDI Processor Setup file.
Choose Open... from the MIDI Processor’s File menu. The factory
setups are located inside the MIDI Processor Setups folder, inside
the Retro AS-1 Folder. Alternately, you can double-click a Setup file
icon.
3. Audition the setups in the list while playing MIDI.
Each setup in the list represents a completely unique set of
parameters. Each setup may be a split, layer, arpeggiation, some
combination thereof, or just a cool program. Click a setup name
from the list to instantly make the setup values active. Feel free to
experiment by modifying the setups. All parameters can be modified
in real time.
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NOTE: Sounds can be triggered from within the MIDI Processor by
pressing the space bar. This option, and the note that is played, can
be changed in the Preferences window under the Edit menu.
3.5 Parameter Editing Conventions

All of the Retro AS-1 components use a consistent interface design for
ease of use. The parameters of these components use a combination
of menu items, on/off switches, pull-down menus, and sliders to
manipulate the available settings.
• Parameter switches such as oscillator on/off buttons and filter input
checkboxes are changed by clicking on them once with the mouse.
• Pull-down menus such as waveform type are selected by click-hold-
dragging the menu item, then releasing the mouse on the desired
selection.
• Parameter slider values can be manipulated in four different ways
(figure 3.5.1):
1. Click, hold, and drag the horizontal slider bar.
2. Increment or decrement by a value of one by clicking at the top
or bottom of the slider.
3. Increment or decrement by a value of ten percent of the total
range by clicking on the vertical slider line, between the
horizontal slider bar and the end of the vertical slider range.
4. Option-click the slider value to call up a text entry box. Input a
number directly using the number keys on your computer
keyboard, then press Return or Enter.
Click the slider name to Click above slider bar

increment by one. to increment by ten
percent.
Click, hold, and Click below slider bar to Figure 3.5.1. Parameter Slider
drag the slider bar. decrement by ten percent. “hot spots” for editing values
Option – click (Mac OS) or

Click the slider value to double – click (Win95) here to
decrement by one. bring up a text entry box. Press
Return after entering a value.
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Where to go from here
TO LEARN MORE ABOUT: REFER TO:

Using MIDI with Retro AS-1 Chapter Four
Retro AS-1 Control Panel Chapter Five
Retro AS-1 MIDI Processor Chapter Six
Retro AS-1 Editor Chapter Seven
Retro AS-1 Keyboard Chapter Eight
Retro AS-1 Mixer Chapter Nine
Banks & Programs Appendix A
Optimizing Performance Appendix B
Troubleshooting Appendix C
Audio Expansion Hardware Appendix D
Analog Synthesis Basics Appendix E
MIDI Implementation Appendix F
Record To Disk Appendix G
QuickTime™ Driver Appendix H
OMS Names Appendix I
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Chapter 4. Working with MIDI
Chapter 4 contents
4.1 MIDI Overview
4.2 External MIDI input (Mac OS)
4.3 MIDI Software Integration (Mac OS)
4.4 Configuring the Retro AS-1 OMS Driver (Mac OS)
4.5 Configuring the Retro AS-1 FreeMIDI Driver (Mac OS)
4.6 External MIDI input (Windows)
4.7 MIDI Software Integration (Windows)
4.8 Configuring the Retro AS-1 Device Driver (Windows)
4.1 MIDI Overview

Retro AS-1 has powerful MIDI implementation. The synthesizer programs
can be accessed multi-timbrally via a multitude of MIDI sources, and all
voicing parameters are available for real-time editing via the MIDI protocol.
BitHeadz designed the program to allow for maximum flexibility in configuring
the system for professional use. There are a number of advanced parameters
that can be set to match your particular working style.
This chapter explains some MIDI concepts, using external MIDI controllers,
and using third-party MIDI applications with Retro AS-1. For details on
advanced MIDI implementation, see Appendix G.
MIDI can get into the Retro AS-1 synthesizer engine in three ways:
1. With the Retro AS-1 Keyboard application, our on-screen keyboard
utility. No MIDI controller or interface is required to use the Keyboard.
Chapter 8 describes the Keyboard functionality in detail.
2. With a MIDI controller or other external MIDI device (such as a
hardware sequencer) via the Serial Input, OMS Input, or FreeMIDI
Input applications (Mac OS) or a MIDI hardware input port (Windows).
3. With a MIDI application running on the same CPU as Retro AS-1 via
the Retro AS-1 MIDI Drivers (Retro AS-1 FreeMIDI Driver and Retro
AS-1 OMS Driver for Mac OS, or Retro AS-1 device driver for
Windows). When using MIDI applications such as a sequencer, it is
up to those applications to get the MIDI input. Their “Play Through”
function then passes MIDI to the Retro AS-1 MIDI driver. (In the Mac
OS, when a MIDI sequencer is used in conjunction with a Retro AS-1
MIDI driver, the Serial Input, OMS Input, or FreeMIDI Input
applications are NOT used.)
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Once MIDI data is received by the synthesizer engine, additional MIDI
processing can take place using the Retro AS-1 MIDI Processor
application. The MIDI Processor can be thought of as an insert effect
or plug-in to the synth engine. It creates layers, splits, and arpeggiations
of the MIDI data. This processing only takes place if the Retro AS-1
MIDI processor is launched, and processing continues even if the
application is in the background. See Chapter 6 for MIDI Processor
details.
4.1.1 Key MIDI Concepts

1. MIDI data processed by the MIDI Processor is not transmitted to
anything except the synthesizer engine. MIDI output from the Processor
and the synthesizer engine is not available to MIDI applications or the
MIDI out port(s).
2. The MIDI Processor only receives data from the Retro AS-1
synthesizer engine. The Processor will not run “stand-alone” without
the synth engine.
3. The Retro AS-1 Applications do not transmit to MIDI applications
or the MIDI out port(s).
4. The Retro AS-1 Keyboard and Editor do not receive MIDI data.
5. In Mac OS, the MIDI Input utilities should not be used when OMS
or FreeMIDI applications are active. Double note triggers may result.
6. In Windows 95, the first MIDI application launched takes control of
the MIDI input port(s). For this reason, it is important to pay attention
to the launch order of any application that uses MIDI input. You can
stop Retro AS-1 from “grabbing” MIDI input port(s) using the Retro
AS-1 control panel I/O setting.
7. The synth engine is launched whenever an MIDI application is
launched if the application uses OMS or FreeMIDI (Mac OS) or the
Retro AS-1 device driver (Windows) if those MIDI drivers are installed
and configured.
7. In Mac OS, OMS or FreeMIDI must be used for MIDI input on systems
that do not support Serial DMA.
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4.2 External MIDI input (Mac OS)
4.2.1 MIDI Flow within Retro AS-1
In order to properly use Retro AS-1 with your MIDI system, it is
important to understand the flow of MIDI data within Retro AS-1. The
diagram below illustrates how MIDI is routed between the various
Retro AS-1 components.
Using Retro AS-1 “stand-alone” with an external MIDI source (such as Figure 4.2.1. Mac OS MIDI flow
with Retro AS-1.
a MIDI controller or external sequencer) is the simplest way to use
MIDI within Retro AS-1. In this scenario, OMS and FreeMIDI can be
bypassed altogether by using the Retro AS-1 Serial Input utility
application (see section 4.2.2).
If OMS or FreeMIDI is installed, you have the option to get MIDI to the
synth engine without launching your MIDI application by using the
Retro AS-1 OMS Input or Retro AS-1 FreeMIDI Input applications. The
only purpose of these utilities is to get MIDI from the serial ports to
the synthesizer engine when OMS or FreeMIDI applications (such as
sequencers) are NOT open. 52
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Any of the Retro AS-1 Serial/OMS/FreeMIDI Input applications can be
opened automatically whenever the Editor, MIDI Processor, or Mixer
applications are launched. The MIDI Input utility launched (if any) is
specified by the Default MIDI Input menu within the Retro AS-1 Control
Panel (see Chapter 5, section 5.5).
When using external MIDI input on multiple channels, the Retro AS-1
Mixer application is useful for setting up and saving multi-timbral
configurations. See Chapter 9 for more information about the Retro
AS-1 Mixer.
4.2.2 Using Retro AS-1 Serial Input

The Retro AS-1
Serial Input
application is used
any time you want
to use Retro AS-1 as
a sound module
without using OMS
or FreeMIDI. Such Figure 4.2.1. The Serial Input
situations include playing the synthesizer “live” with a MIDI controller, application window. The “LEDs”
using a hardware (external) sequencer, or running MIDI applications indicate incoming MIDI activity
on each of the 16 MIDI channels.
on a separate computer. The Serial Input configuration is recommended
for voice programming and live performance because it delivers the
best note-on to sound-out response time and it maximizes available
polyphony by eliminating the CPU processing required to run OMS
and FreeMIDI.
Retro AS-1 Serial Input is launched automatically by default when the
Editor, MIDI Processor, or Mixer application is launched. Full
instructions for launching and configuring Retro AS-1 Serial Input are
detailed in section 3.2 of Chapter 3.
If a port selected for MIDI is in use by another application such as
AppleTalk, fax or modem software, or OMS/FreeMIDI, Serial Input
will display “Port is in use by another application.” If you get this
message, quit the application(s) that are using the port or use a different
port for the MIDI interface.
IMPORTANT: If you are using the Printer port for MIDI connections,
AppleTalk must be unloaded while using MIDI. To unload AppleTalk,
make it Inactive in the Chooser utility, which is accessed from the
Apple Menu, then reboot.
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When Retro AS-1 Serial Input is opened, the synth engine is started
and you can “play” your computer like a MIDI sound module. No
other Retro AS-1 applications need to be launched. You can select
different programs using the MIDI program change commands or
the Keyboard, Editor, MIDI Processor, or Mixer applications. You
controller using the Editor if the MIDI Channel parameter on the Editor Figure 4.2.2. The No Serial DMA
global page matches the MIDI transmission channel. If you are Hardware warning. Retro AS-1
Serial Input cannot be used when
transmitting MIDI to the synthesizer on more than one channel, you this dialog appears. Retro AS-1
can use the Retro AS-1 Mixer to specify the synthesizer’s multi-timbral OMS/FreeMIDI Input must be
settings. used instead.
The Serial Input utility requires a Macintosh hardware component

called the Serial DMA which is built into most PowerMacs. Serial Input
displays an error message (figure 4.2.2) on Macintosh models that do
not have the Serial DMA component. Unfortunately, a list containing
such systems does not exist. In this case, the OMS or FreeMIDI operating
systems must be used to get MIDI into Retro AS-1. Make sure the
Serial DMA software component extensions are installed before
concluding your machine does not support Serial DMA!
To use external MIDI input with Retro AS-1 on systems without Serial
DMA hardware, either OMS or FreeMIDI must be installed. Then the
Retro AS-1 OMS Input or Retro AS-1 FreeMIDI Input utility is used get
MIDI data from OMS or FreeMIDI and pass the MIDI data to the
synthesizer engine. If you don’t have any OMS or FreeMIDI applications
(which usually install these MIDI operating systems), the OMS These are the software
and FreeMIDI installers are provided for your convenience in the CD components of Serial DMA. They
Extras folder on the Retro AS-1 CD-ROM. must be installed in the
Extensions folder on hardware
systems that support Serial DMA.
4.2.3 Using Retro AS-1 OMS Input and Retro AS-1
FreeMIDI Input
IMPORTANT: The Retro AS-1 OMS and FreeMIDI Input applications

cannot be used until the Retro AS-1 OMS Driver or Retro AS-1
FreeMIDI Driver is configured using the instructions in section 4.3 of
this chapter.
If OMS or FreeMIDI is installed, you can get MIDI to the synth engine
without launching your MIDI application by using the Retro AS-1 OMS
Input or Retro AS-1 FreeMIDI Input applications in conjunction with
the Retro AS-1 OMS Driver and Retro AS-1 FreeMIDI Driver. The only
purpose of these utilities is to get MIDI from the serial ports to the
synthesizer engine when OMS or FreeMIDI applications such as
sequencers are NOT open.
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Figure 4.2.3. The
Retro AS-1 OMS
Input window
Figure 4.2.4. The

Retro AS-1 FreeMIDI
Input window.
On systems that don’t support Serial DMA, Retro AS-1 OMS Input or
Retro AS-1 FreeMIDI Input must be used to get MIDI into the synth
engine when OMS or FreeMIDI applications are not active. If an OMS
or FreeMIDI application is active, the Retro AS-1 Serial/OMS/FreeMIDI
Input should NOT be used, or double note triggers will result. When
an OMS or FreeMIDI application is active, it is up to that application’s
“Play Through” function to pass MIDI to the synth engine via the
Retro AS-1 OMS or FreeMIDI Driver.
Retro AS-1 OMS and FreeMIDI Inputs are functionally identical to Retro
Figure 4.2.5. The Port menu in
AS-1 Serial Input. The only difference is in the Port menu. Instead of Retro AS-1 OMS & FreeMIDI
selecting Modem or Printer ports, the items displayed in the Port menu Input applications. The MIDI
reflect the controllers in the current OMS or FreeMIDI configuration. controllers displayed in the Port
menu reflect the configuration of
The item selected in the Port menu (indicated by a check mark) is the the current OMS or FreeMIDI
setup.
controller that will transmit MIDI to the synth engine.
4.3 MIDI Software Integration (Mac OS)

This section is dedicated to users of OMS and FreeMIDI that wish to
integrate Retro AS-1 into existing MIDI environments for use with
sequencers and other MIDI applications running on the same CPU. If
you do not use OMS or FreeMIDI, you can skip the rest of this chapter
entirely.
4.3.1 OMS and FreeMIDI Overview

These MIDI systems are third-party software packages that operate at
the system level to convert data at the serial port(s) into usable MIDI
information and transfer that data between various MIDI applications
such as Retro AS-1, MIDI sequencers, and other MIDI applications.
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OMS™ (“Open Music System”) from Opcode Systems in Palo Alto, CA,
and FreeMIDI™ from Mark Of The Unicorn in Cambridge, MA, are the
two main MIDI systems. They are used by popular MIDI applications
such as the Vision™ and Performer™ sequencers. Using OMS and
FreeMIDI, various MIDI applications (such as sequencers and keyboard
editor/librarians) can communicate with each other by sharing MIDI
data.
MIDI software application developers typically provide OMS and/or
FreeMIDI “drivers” to allow their MIDI product to communicate with
other MIDI software products. OMS and FreeMIDI do all the MIDI
routing and processing, while the drivers provide software inputs and
outputs for the MIDI operating system.
Retro AS-1 can communicate with OMS and FreeMIDI using our
supplied OMS and FreeMIDI drivers. After configuring our drivers,
your OMS- or FreeMIDI-compatible application can transmit MIDI data
to Retro AS-1 without hardware routing. These drivers cause OMS and
FreeMIDI to recognize Retro AS-1 as another “sound module” in the
MIDI environment defined from within the OMS and FreeMIDI setup
applications.
After OMS and FreeMIDI are configured to recognize Retro AS-1 as
another module, the MIDI application that uses OMS or FreeMIDI can
be configured to use Retro AS-1 as a destination for MIDI data. The
individual MIDI application tracks can then be assigned to various
Retro AS-1 “instruments” (MIDI channels). Once the MIDI application
is transmitting MIDI data to Retro AS-1 on one or more MIDI channels,
MIDI commands and/or the Retro AS-1 Mixer are used to define the
settings (program selection, volume, pan, mute, solo, and global effects)
for multi-timbral operation.
4.4 Configuring the OMS Driver

If you are using an OMS-compatible MIDI application, you probably
have already installed and configured OMS for use in your MIDI
environment. This section does not describe how to install and
configure OMS; it only explains how to add and configure our driver
for use with OMS. Consult the documentation that came with your
OMS software for general OMS instructions.
OMS only needs to be configured when your MIDI environment
changes. You will only have to follow the steps in this section once to
use OMS with Retro AS-1.
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IMPORTANT! OMS must be already installed and configured before
proceeding with the Retro AS-1 OMS Driver configuration.
The Retro AS-1 OMS Driver was placed inside the OMS Folder (located
at the root level of the active System Folder) by the Retro AS-1 Installer.
If OMS was not already installed, the folder was created for you. If
you never use OMS you can delete the OMS Folder without harm.
NOTE: As of this writing, the latest version of OMS is 2.3.4. We

recommend updating to the latest version of OMS for maximum
performance and stability.
To configure OMS to recognize the Retro AS-1 OMS Driver:

1. Launch the OMS Setup application.
The OMS Setup application is the component of OMS used to define
the MIDI hardware setup. It is located inside the OMS Applications
folder, installed at the user defined location during OMS installation.
2. Execute the Update Setup routine.
The Update Setup command is found under
the Interfaces menu item in OMS Setup
versions below 2.0, and under the MIDI
Cards & Interfaces menu item in versions 2.0
and up. See figure 4.1.1.
IMPORTANT! OMS will not recognize Retro

AS-1 until after the Update Setup command
is run within the OMS Setup application.
3. Verify the configuration.

When the setup is properly configured, the
Retro AS-1 Driver icon is visible in the setup
window. There will be no connections to the
MIDI interface. If you use the “Test Studio” Figure 4.4.1. The Update Setup
function from the Studio menu, you should dialog within the OMS Setup
application.
hear Retro AS-1 sound output. See figure
4.4.2.
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4. Quit the OMS Setup application.
OMS is now configured for use with
Retro AS-1. You won’t have to use the
OMS Setup application again unless your
MIDI environment changes.
NOTE: Please refer all technical questions

regarding OMS (not related to Retro AS-
1) to the technical support department
of Opcode Systems at (650) 856-3331.
5. Configure the OMS-compatible

MIDI application to recognize the
new device.
This step will vary depending upon
which particular MIDI software you are
Figure 4.4.2. The Retro AS-1 OMS
using to control Retro AS-1. The command found within the OMS- Driver properly installed,
compatible application will probably be called Instruments, MIDI configured, and recognized by
Devices, or something similar. See the next section for specific OMS. Your interface and
instructions. controller settings may vary from
those shown here. The
QuickTime Music Driver is NOT
NOTE: Please refer all technical questions regarding your MIDI required.
application that are not directly related to Retro AS-1 to the
manufacturer’s technical support department.
4.4.1 Configuring OMS MIDI applications

How to setup Opcode Vision/StudioVision
1. Select Instruments from the Windows menu.
The MIDI Instruments window appears, showing the currently
available output devices.
2. In the MIDI Instruments window, click and hold the small
disclosure triangle in the MIDI Instrument window title bar.
The MIDI Instruments sub-menu appears. See figure 4.4.3.
3. Select Make from Studio Setup... from the MIDI Instruments
sub-menu.
This action will automatically create a new instrument from each
device in your current OMS Studio Setup. You can optionally select
New Instrument to add devices one at a time. See figure 4.4.4. After
issuing the command, individual Instrument outputs may be re- 58
assigned if desired.
Retro AS-1 Manual
Figure 4.4.3. The MIDI
Instruments sub-menu within
Vision/StudioVision.
Figure 4.4.4. The Make from

Studio Setup command
automatically creates output
devices based on the current
OMS Studio Setup.
4. Close the Instruments window.

Vision/StudioVision is now able to select Retro AS-1 on any of the
16 MIDI channels as a track destination or MIDI “Play Thru” channel.
How to setup Steinberg Cubase

There is only one step: Choose your Output! Cubase always displays
all OMS Devices.
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4.4.2 Setting up MIDI Clock Sync via OMS
Retro AS-1 version 1.10 and higher allows synchronization of LFO’s,
effect delay times, and the arpeggiator to MIDI beat clock. This section
describes how to configure OMS MIDI applications to send MIDI clock
to Retro AS-1.
NOTE: Time changes in Retro AS-1 will occur if the tempo changes
more than 5% of the previous tempo. This 5% “buffer” protects
against the constant changes of MIDI Sync inaccuracies that typically
shift +/- 3%.
Figure 4.4.5. The OMS IAC Driver
icon. This file must be installed
Vision/StudioVision Sync Setup in the OMS Folder to use the
MIDI Sync features in Retro AS-1.
1. Install the OMS IAC Driver.
To transmit MIDI clock commands to Retro AS-1, Vision requires
the IAC (Inter-Application Communications) Driver to be in the OMS
Folder. The OMS IAC Driver MUST be installed using the OMS
installer Custom Install option; it is not installed using Easy Install. The
Figure 4.4.6. The OMS Installer
OMS Installer is located on the Retro AS-1 CD-ROM in the CD Extras Custom Install window. The IAC
folder. Driver is NOT installed during
Easy Install.
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2. Update the OMS Studio Setup to recognize the OMS IAC
Driver.
Follow the instructions in section 4.4 of this chapter.
3. From the main menu in Vision, select Options>Sync
Options.
The Vision Sync window appears.
4. Select Retro AS-1 as a destination for Beat Clock.

Make sure the box next to Retro AS-1 is checked and Beat Clock is
selected from the Send Sync pull-down menu, then click OK.
5. Done!
Retro AS-1 will now “chase” tempo changes sent to any activated
MIDI Sync component (LFO rate, delay times, arpeggiator).
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Cubase Sync Setup
1. From the main menu in Cubase, select
Options>Synchronization.
The Cubase Synchronization window appears.
2. Select Retro AS-1 for destination of MIDI Clock.

In the Sync Out portion of the Cubase Synchronization window,
select Retro AS-1 from the MIDI Clock pull-down menu, then click
OK.
3. Done!
Retro AS-1 will now “chase” tempo changes sent to any activated
MIDI Sync component (LFO rate, delay times, arpeggiator).
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4.5 Configuring the FreeMIDI Driver
If you are using an FreeMIDI-compatible MIDI application, you probably
have already installed and configured FreeMIDI for use in your MIDI
environment. This section does not describe how to install and
configure FreeMIDI; it only explains how to add and configure our
driver for use with FreeMIDI. Consult the documentation that came
with your FreeMIDI software for general FreeMIDI instructions.
FreeMIDI only needs to be configured when your MIDI environment
changes. You will only have to follow the steps below once to use
FreeMIDI with Retro AS-1.
IMPORTANT! FreeMIDI must be already installed and configured

before proceeding with the Retro AS-1 FreeMIDI Driver configuration.
The Retro AS-1 FreeMIDI Driver was placed inside the FreeMIDI Folder
(located at the root level of the active System Folder) by the Retro AS-
1 Installer. If FreeMIDI was not already installed, the folder was created
for you. If you never use FreeMIDI you can delete the FreeMIDI Folder
without harm.
NOTE: As of this writing, the latest version of FreeMIDI is 1.35. We

recommend updating to the latest version of FreeMIDI for maximum
performance and stability.
To configure FreeMIDI to recognize the Retro AS-1 FreeMIDI

Driver:
1. Launch the FreeMIDI Setup application.
The FreeMIDI Setup application is the component of FreeMIDI used
to define the MIDI hardware setup. It is located inside the FreeMIDI
Applications folder, installed at the user defined location during
FreeMIDI installation.
2. Execute the Update Interfaces routine.
The Update Interfaces command is found under the Configuration
menu item in the FreeMIDI Setup application. See figure 4.5.1.
IMPORTANT! FreeMIDI will not recognize Retro AS-1 until after the
Update Interfaces command is run within the FreeMIDI Setup
application.
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Figure 4.5.1. The
Update Interfaces
dialog within the
FreeMIDI Setup
application.
3. Verify the configuration.

When the setup is properly configured, the Retro AS-1 Driver icon
is visible in the setup window (see figure 4.5.2). There will be no
connections to the MIDI interface. The “Test Connections” menu
command within FreeMIDI will not trigger Retro AS-1 sounds because
FreeMIDI does not support AppleEvents, which our driver requires
to establish contact with the synthesizer.
Figure 4.5.2. The Retro AS-1
FreeMIDI Driver properly
installed, configured, and
recognized by FreeMIDI. Your
interface and controller settings
may vary from those shown here.
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If you still do not see the Retro AS-1 FreeMIDI Driver in the FreeMIDI
configuration window as shown above, open the FreeMIDI Preferences
window by selecting FreeMIDI Preferences... from the File menu within
the FreeMIDI Setup application. Check the Retro AS-1 Driver Input
Port checkbox as shown below, then click OK and save the
configuration. See Figure 4.5.3.
4. Quit the FreeMIDI Setup application. Figure 4.5.3. Make sure the
Retro AS-1 Driver Input Port is
FreeMIDI is now configured for use with Retro AS-1. You won’t have checked in the FreeMIDI Setup
to use the FreeMIDI Setup application again unless your MIDI Preferences window.
environment changes.
NOTE: Please refer all technical questions regarding FreeMIDI (not

related to Retro AS-1) to the technical support department of Mark
Of The Unicorn at (617) 576-3066.
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5. Configure the FreeMIDI-compatible MIDI application to
recognize the new device.
This step will vary depending upon which particular MIDI software
you are using to control Retro AS-1. The command found within the
FreeMIDI-compatible application will probably be called Instruments,
MIDI Devices, or something similar.
NOTE: Please refer all technical questions regarding your MIDI

application that are not directly related to Retro AS-1 to the
manufacturer’s technical support department.
Your FreeMIDI application should now be able to select Retro AS-1 on

any of the 16 MIDI channels as a destination or MIDI “Play Through”
channel.
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4.6 External MIDI input (Windows)
4.6.1 MIDI Flow within Retro AS-1 and Windows 95
In order to properly use Retro AS-1 with your MIDI system, it is important
to understand the flow of MIDI data within Retro AS-1. The diagram
below illustrates how MIDI is routed between the various Retro AS-1
components.
Figure 4.6.1.
4.6.2 Retro AS-1 Without 3rd-Party MIDI Applications Windows MIDI flow
with Retro AS-1.
Using Retro AS-1 “stand-alone” without third-party MIDI applications is
the simplest way to use Retro AS-1. Using the Retro AS-1 Keyboard, you
can trigger sounds without a MIDI input port and MIDI controller.
Using a MIDI input port, Retro AS-1 can be played with external MIDI
control just like any other MIDI sound module. Such situations include
playing the synthesizer “live” with a MIDI controller, or using any external
MIDI source.
In this scenario, whenever the Retro AS-1 Keyboard, Editor, MIDI
Processor, or Mixer application is launched, the Retro AS-1 engine “grabs”
the default MIDI input port if “Use Direct MIDI Input” is selected in the
Retro AS-1 control panel.
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4.6.3 The MIDI Input Port
MIDI input port(s) in Windows 95 are created when MIDI input
hardware such as a joystick port on a sound card or an MPU-401 card
is installed.
When the MIDI input port is in use by Retro AS-1, it cannot be utilized
by any other MIDI application. If a port selected for MIDI in the Retro
AS-1 control panel is in use by another application when Retro AS-1 is
launched, Retro AS-1 will display “The selected MIDI port is in use by
another application.” If you get this message, quit the application(s)
that are using the port or select a different MIDI port in the Retro AS-
1 control panel.
4.6.4 Stand-Alone Operation

To use Retro AS-1 with an external MIDI controller, the MIDI input
port needs to be activated by starting the synthesizer engine. The synth
engine is started by launching the Keyboard, Editor, MIDI Processor,
or Mixer application.
To simply play the synthesizer with a MIDI controller, we recommend

using the Retro AS-1 Keyboard application to start the engine and
activate the MIDI input port. The Retro AS-1 Keyboard has very low
RAM and CPU requirements and it allows you to access all the Retro
AS-1 banks and programs (sounds) with pull-down menus.
Once the synth engine is activated, you can “play” your computer like
a MIDI sound module. You can select different programs using MIDI
program change commands or the Keyboard, Editor, MIDI Processor,
or Mixer applications. You can modify programs in real-time while
receiving MIDI from the controller using the Editor if the MIDI Channel
parameter on the Editor global page matches the MIDI transmission
channel.
When using external MIDI input on multiple channels, the Retro AS-1
Mixer application is useful for setting up and saving multi-timbral
configurations. See Chapter 9 for more information about the Retro
AS-1 Mixer.
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4.7 MIDI Software Integration (Windows)
This section is for users that wish to integrate Retro AS-1 into existing MIDI
environments for use with other MIDI applications running on the same CPU. If
you do not use third-party MIDI applications, you can skip the rest of this chapter
entirely.
Configuring Retro AS-1 for use with third-party MIDI applications (such as a
sequencer) can vary in complexity, depending on your experience, the MIDI
application(s), your existing MIDI environment, and other variables. You will
need to have a basic understanding about device drivers and the Windows MIDI
Mapper.
4.7.1 Device Driver

Retro AS-1 is designed to behave as “virtual hardware” in the Windows 95
environment. We provide a 16-bit device driver for our software “MIDI module”
that the Windows 95 MIDI Mapper and/or third-party MIDI applications can use
as a multi-timbral destination for transmitting MIDI information to the Retro AS-
1 synthesizer engine. This is a unique situation within Windows 95 because
device drivers are usually used for hardware purposes only.
When the third-party MIDI application is launched, the MIDI input port is
“grabbed” by the MIDI application and cannot be used directly by the Retro AS-
1 applications. However, the third-party MIDI application “MIDI thru” function
allows you to play Retro AS-1 “live” with the MIDI input port even though it is
in use by another application.
4.7.2 Multimedia Control Panel

The default MIDI device many Windows 95 MIDI applications use for MIDI
output is specified by the Windows MIDI Mapper, accessed in the Multimedia
control panel. The MIDI Mapper allows you to select the default MIDI device for
all 16 MIDI channels, or you can map individual MIDI channels to separate
MIDI devices. Many advanced MIDI applications have their own MIDI Mapper
settings for specifying MIDI output to device drivers. If an application uses their
own maps, the Windows MIDI Mapper is not used and will have no effect.
After the Windows MIDI Mapper is configured to recognize Retro AS-1 as the
default MIDI module, any MIDI application that uses the Windows MIDI Mapper
(such as MediaPlayer) will use Retro AS-1 as a destination for MIDI data. The
individual MIDI application tracks can be assigned to various Retro AS-1
“instruments” (MIDI channels). Once the MIDI application is transmitting MIDI
data to Retro AS-1 on one or more MIDI channels, MIDI commands and/or the
Retro AS-1 Mixer are used to define the settings (program selection, volume,
pan, mute, solo, and global effects) for multi-timbral operation.
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4.8 Configuring the Retro AS-1 Device
Driver (Windows)
4.8.1 Configuring the Windows MIDI Mapper to use Retro AS-1
as the default MIDI device
This setup will cause Retro AS-1 to respond to
all 16 MIDI channels.
1. Open the Multimedia control panel.
The Multimedia control panel can be
accessed from the Start Menu
(Start>Settings>Control Panel). The
Multimedia Properties window is displayed.
2. Click the MIDI tab.
This is where you will specify the MIDI
output device.
3. Click the Single Instrument radio button. Figure 4.8.1. The Multimedia
All MIDI data will be output to the selected control panel applet. Double-
click the icon to open the
Single Instrument device. Multimedia Properties window.
4. Select Retro AS-1 as the MIDI output

destination.
In the Single
Instrument area,
there is a list of MIDI
device drivers that
are installed in
Windows 95. Scroll
the list until you see
Retro AS-1, then
click Retro AS-1 so it
becomes highlighted.
See figure 4.7.2.
5. Click Apply then
OK to close the
control panel.
Done! Now any
MIDI application that
uses the Windows
MIDI Mapper will
play Retro AS-1 as
Figure 4.8.2. The Windows MIDI Mapper configured
the default output device. to use Retro AS-1 on all 16 MIDI channels. 70
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4.8.2 Configuring the Windows MIDI Mapper to use
Retro AS-1 as one of several MIDI devices
This setup will enable
multiple MIDI devices to
respond, each on its own
particular MIDI
channel(s). You need to
decide which MIDI
channel(s) you want
Retro AS-1 to respond to.
1. Open the
Multimedia
control panel.
The Multimedia
control panel can be
accessed from the
Start Menu
(Start>Settings>Control
Panel). The
M u l t i m e d i a
Properties window is
displayed.
2. Click the MIDI tab.
This is where you will
select the MIDI
output device. Figure 4.8.3. Selecting Custom
configuration in the Windows
3. Click the Custom configuration radio button. MIDI Mapper. Click Configure...
to open the MIDI Configuration
We will be creating a new custom MIDI Scheme (map). window.
4. Click the Configure button.

The MIDI Configuration window appears. In the default configuration,
no MIDI channels are assigned to MIDI devices.
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Figure 4.8.4. The default MIDI
Configuration window. Custom
MIDI Schemes (maps) are
created here.
5. Click Channel 1 to select it then click the Change... button.

The Change MIDI Instrument window appears.
Figure 4.8.5. The Change MIDI

Instrument window, where a
different MIDI device can be
specified for each MIDI channel.
6. Select the desired MIDI output device for Channel 1 from

the Instrument pull-down menu then click OK.
The pull-down menu contains the list of MIDI device drivers that are
installed in Windows 95. The MIDI output device you choose will
receive the MIDI data transmitted by MIDI applications on MIDI 72
channel 1.
Retro AS-1 Manual
7. Repeat steps 5 and 6 for each of the 16 MIDI channels.
Figure 4.8.6. A custom MIDI

Scheme with all channels
configured.
8. Save the MIDI Scheme with a unique name.

Click the Save As... button in the Schemes area to save the
configuration. Enter a unique name in the Save MIDI Scheme As
dialog box.
Figure 4.8.7. Saving the custom

MIDI Scheme with a new name.
9. Click Apply then OK to close the control panel.

Your custom configuration is now complete. You can create multiple
custom configurations for use in different MIDI situations.
Figure 4.8.8. The newly

customized MIDI Scheme is
selected and ready for use.
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4.8.3 Real-World Examples
Configuring Retro AS-1 for use within Cakewalk
This example shows how to setup Cakewalk, a MIDI sequencer, to
allow use of Retro AS-1 as a MIDI destination.
1. Verify correct installation of Retro AS-1 before launching
Cakewalk.
You should be able to hear the synthesizer using the Retro AS-1
Keyboard application and with MIDI input. Close all Retro AS-1
components before proceeding.
2. Launch the Cakewalk application.
The Track window appears.
3. Select MIDI Devices... from the Cakewalk Tools menu.
The MIDI Ports window appears. A list of installed device drivers is
shown in the Output Ports list.
Figure 4.8.9. The Cakewalk MIDI

4. Click Retro AS-1 in the Output Ports list to select it. Ports window. Make sure Retro
Retro AS-1 and all the other MIDI output devices you want to use AS-1 is highlighted.
should be highlighted.
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5. Click OK to close the MIDI Ports window.
This action initializes the Retro AS-1 device driver. The Retro AS-1
status window will open, indicating the synthesizer engine is active.
Figure 4.8.10. The Retro AS-1

Status window. The synth
engine is active when this
window is open.
6. In the Cakewalk Track window, double-click the Port for a

track.
The Track Properties window appears. See figure 4.8.12.
7. In the Track Properties window, select Retro AS-1 from the Figure 4.8.11. Double-click the
Port for a track to open the Track
Port pull-down menu. Properties window.
This action causes Retro AS-1 to be used as a MIDI destination for
the track. See figure 4.8.12.
8. In the Track Properties window, select the desired MIDI
channel for the track from the Channel pull-down menu.
This action selects the MIDI channel Retro AS-1 will respond to for
the track. See figure 4.8.12.
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9. Click OK to close the Track Properties window.
Retro AS-1 now appears as the destination device for the track port.
At this point, if MIDI is shown as the source for the track (this is the
“MIDI Thru” function), you can play Retro AS-1 “live” with your MIDI
controller.
Figure 4.8.12. The

Cakewalk Track Properties
window. Make sure Retro
AS-1 is selected from the
Port menu.
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Configuring Retro AS-1 for use within Cubase
This example shows how to setup Cubase, a MIDI sequencer, to allow use
of Retro AS-1 as a MIDI destination.
1. Verify correct installation of Retro AS-1 before launching
Cubase.
You should be able to hear the synthesizer using the Retro AS-1 Keyboard
application and with MIDI input. Close all Retro AS-1 components before
proceeding.
2. Launch the Cubase application.
The default Arrange window appears.
Figure 4.8.13. Selecting Retro
3. Click and hold the Output field in the Arrange window. AS-1 as a MIDI destination
from the Cubase Output
A list of installed device drivers is shown in the Output list. column menu.
4. Click Retro AS-1 in the Output list to select it.

The track is now configured to use Retro AS-1 for output. Done!
At this point, you can play Retro AS-1 “live” with your MIDI controller.
You can select a different MIDI channel for the track by double-clicking
the “Chn” column for the track.
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4.8.4. Using Retro AS-1 With Third-Party Audio Se-
quencers
An “audio sequencer” is a hybrid MIDI/digital audio application. It
records and plays back digital audio files as well as MIDI data.
4.8.5. Audio Sequencers and DirectSound

Sound cards require a “wave driver” to pass digital audio from an
application to the sound card outputs. Most audio sequencer packages
include their own proprietary wave driver to pass digital audio to the
sound card.
DirectSound, which is utilized (and required) by Retro AS-1, also uses
a wave driver to pass digital audio to the sound card. However, most
sound cards do not support multiple clients. In other words, only one
wave driver connection can be active at any given time.
In order for Retro AS-1 to run concurrently alongside an audio sequencer
using the same sound card, the audio sequencer must use DirectSound,
or the sound card must support multiple clients. Unfortunately, both
of these scenarios are uncommon.
In order to use Retro AS-1 and an audio sequencer concurrently using
the same sound card, you may need to disable the digital audio features
of the audio sequencer and instead use MIDI only. Another alternative
is to install another sound card.
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Chapter 5: Control Panel Reference
Chapter 5. Control Panel Reference
Chapter 5 Contents
5.1 Control Panel Overview
5.2 Configuration Settings Figure 5.1.1. The Retro AS-1
5.3 Controller Settings control panel window (Mac OS).
5.4 Global Effects Settings

5.5 Input/Output Settings
5.6 Miscellaneous Settings
5.1 Control Panel Over-

view
The Retro AS-1 control panel is where
system-wide configuration parameters are
modified and stored. It was placed into the
Control Panels folder by the Retro AS-1
Installer.
5.1.1 System Performance

Depending upon the speed of your
computer, your polyphony and sound
quality requirements, and other MIDI
applications that are running, the
synthesizer system parameters will
probably need to be “tweaked” to optimize
performance. The Configuration
parameters are the settings that will affect
Retro AS-1 performance and sound quality.
Because Retro AS-1 uses the computer’s
CPU to handle all of its tasks, it is possible
to overload the CPU, especially on slower
systems. The main cause of CPU overload
occurs when too many notes are played.
When the CPU is overloaded, sound output
will stutter or cut out altogether.
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To eliminate this problem the Number of Voices, Maximum CPU %, Figure 5.1.2. The Retro AS-1
control panel window
Sample Rate, and Buffer Length settings must be optimized for use (Windows 95).
with your particular environment. These
settings are all interdependent and
experimentation is sometimes required to
find the “sweet spot” that works best in your
environment.
5.1.2 Key Control Panel Concepts

1. Setting changes are not activated until the
control panel is closed and the synthesizer
is relaunched. Relaunching the synth means
ALL Retro AS-1 components (including MIDI
applications using the Retro AS-1 MIDI
drivers) must be quit.
2. Configuration parameters should be
experimented with to get the best
performance from your particular computing
environment.
3. Generally speaking, lowering the
Polyphony setting is the simplest way to
avoid overloading the CPU while maintaining
fidelity.
4. Global Effects behavior is determined in
the control panel.
5. Changing the Sample Rate and Buffer
Length settings may affect the sound of a
program. For best results, voice your
programs with the settings you intend to use
them with.
IMPORTANT! Whenever control panel

settings are modified, Retro AS-1 must be
restarted in order for the changes to take
effect. To restart Retro AS-1, quit all Retro
AS-1 components (Editor, Keyboard, MIDI
Processor, Mixer, Serial/OMS/FreeMIDI
Input, MIDI drivers). New settings will take
affect the next time one of these
components is launched.
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5.2 Configuration settings
Number Of Voices
This parameter sets the maximum polyphony
(simultaneous voices) that Retro AS-1 will reproduce. The
range is from 1 to 32 voices. The default value is 8.
A larger Number Of Voices value generally requires a higher Maximum Figure 5.2.1. The Configuration
CPU % and/or Buffer Length setting to compensate for the increased parameters. These are the
CPU demands of additional polyphony. If the synthesizer “chokes” settings that affect performance
(stutters or cuts out), enter a smaller Number Of Voices value and/or and fidelity.
change the other configuration settings.
Note: Polyphony can be limited on a per-program basis with the

Maximum Voices setting in the Editor Global page.
Maximum CPU %
This parameter sets the amount of CPU processing horsepower reserved
by the synthesizer engine. The range is from 10% to 60%. When using
Direct IO for output (Mac OS only), the range is from 10% to 40%.
The default value is 40%.
If the synthesizer “chokes” (stutters or cuts out), enter a larger
Maximum CPU % value and/or change the other configuration settings.
If you experience problems with other MIDI applications (such as
sluggish screen response or poor timing) decrease the CPU percentage.
If you are using Retro AS-1 by itself (for example, using the synthesizer
“live” as a musical instrument) you can crank this setting up without
negative effects.
The reserved CPU is relinquished to other applications whenever the
synth engine is not active (that is, when all components are quit).
Sample Rate
This parameter determines the sample rate of the synthesizer output.
The value is expressed in Hertz; the range is from 8000Hz to 48000Hz.
The default value is 44100.
A higher setting results in better upper frequency response, fidelity,
and voicing parameter resolution, but requires additional CPU
processing. A lower value requires less CPU processing and allows
more polyphony for the same CPU percentage. If the synthesizer
“chokes” (stutters or cuts out), enter a smaller Sample Rate value
and/or change the other configuration settings.
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IMPORTANT! The Sample Rate setting affects not only the frequency
response, but also the resolution of the voicing parameters. Changing
the Sample Rate setting can affect the sound of a program. For best
results, voice your programs with the same sample rate setting that
you intend to use them with.
Many “vintage-style” synth voices do not require the sparkly-crisp

high end response we have become accustomed to in this digital era.
A Sample Rate setting of 22050 or even lower may be acceptable (or
even desirable) in many scenarios, including live performance and
“lo-fi” recordings.
IMPORTANT (Mac OS only)! This number should match the Sound

Manager sample rate setting for optimum system performance. If
the numbers don’t match, the Sound Manager must perform a
sample rate conversion which requires additional CPU processing
and may decrease available polyphony.
Buffer Length
This parameter determines how often data is passed from the
synthesizer to the Sound Manager (Mac OS) or DirectSound (Windows
95). The values are expressed in samples; the range is from 32 to 1024.
The default value is 64.
A lower value delivers higher voicing parameter resolution and faster
note-on response time but requires more CPU processing. A higher
value allows more polyphony for the same CPU percentage, but the
sound quality may be “grainier” and the lag time between note-on
and sound output may increase. If the synthesizer “chokes” (stutters
or cuts out), enter a larger Buffer Length value and/or change the
other configuration settings.
For live play with a MIDI controller, a value of 32 offers the best note-
on to sound-out response time (latency). A value of 64-128 may be
acceptable in many situations. When you are using a MIDI application
where the note data is already input (when you aren’t playing a
controller), you may get away with an even higher value.
IMPORTANT! The Buffer Length setting affects not only the latency
response, but also the resolution of the voicing parameters. Changing
the Buffer Length setting can affect the sound of a program. For
best results, voice your programs with the same buffer length setting
that you intend to use them with.
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About the ‘Best of Retro AS-1@22kHz’ bank
The Retro AS-1 factory programs are voiced at 44.1kHz with a buffer
length of 64 for high sound quality. Because the Sample Rate and
Buffer Length settings can affect the sound quality of programs, we
have provided a copy of the ‘Best of Retro AS-1’ bank that is optimized
for 22050/ settings for use with slower computer systems. We
recommend using this bank only when Sample Rate=22050 and Buffer
Length= in the Retro AS-1 control panel.
5.3 Controllers Settings

Controllers A, B, C, D overview
Controllers A, B, C, and D allow four MIDI
continuous controllers to be active simultaneously
for highly expressive performances. These
controller parameters allow you to set up your
favorite modulation sources for use with Retro
AS-1 programs. This is a flexible arrangement that allows you to use Figure 5.3.1. The Controller
different controllers without having to modify your program assignment parameters.
modulations when switching MIDI environments.
For example, let’s say Mod Wheel is selected for Controller A in the
control panel. Whenever Controller A is selected as a source for
modulation in a program, the modulation wheel will be used for that
modulation. So if Controller A is assigned to control LFO amount in a
program, the modulation wheel will control the LFO amount. Then if
you switch to a wind controller, you could change Controller A to be
Breath Control and your programs would still have the same modulation
routings with your alternate controller.
Controller A, B, C, D menu
Each Controller has a menu for selecting the desired assignment. The
controller numbers associated with the menu items are detailed in
this table. Figure 5.3.2. The Controllers A,
B, C, D menu.
Item Selected From Controller # Assigned
Controller Menu to Controller Source
Modulation Wheel 1
Breath Control 2
Foot Control 3
Expression Controller 11
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Where’s the Data Slider (controller #6)?
Retro AS-1 reserves MIDI controller number 6 (data slider) for real-
time control of all synthesizer parameters via MIDI using non-registered
parameter numbers. See Appendix F for more information.
Pedal menu
The Pedal parameter determines which MIDI controller number will
be used as a source when Pedal is selected as the trigger mode for
program modulators. For example, you could program an LFO
modulator to turn on only when a pedal (footswitch) is depressed.
MIDI controller #64 (sustain) is “hard wired” within Retro AS-1 to
always control sustain, regardless of any other settings. This parameter
only effects program modulators set to trigger mode.
Figure 5.3.3. The Controllers
Pedal menu.
Item Selected From Controller # Assigned to
Pedal Menu Modulator Pedal
Sustain 64
Portamento 65
Sostenuto 66
Soft 67
Legato 68
Hold 2 69
NOTE: The names shown in the Pedal menu do not indicate

functionality within Retro AS-1. They are merely the names given to
these controller numbers by the MIDI specification.
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5.4 Global Effects Settings
These parameters determine the behavior of the two global effects
processors. The global effects parameters are detailed in Chapter
7, section 7.5. Global effects behavior is interactive between the
Mixer and Editor. How the global effects respond is defined by
these settings. Each possible scenario is detailed below.
Figure 5.4.1. The Global Effects
Scenario 1. Global Effects Off, ‘Use From Editor’ unchecked configuration parameters.
No global effects will be used by the synth. Settings in the Editor and Mixer will
have no effect. CPU processing requirements can be reduced with this setting.
Scenario 2. Global Effects Off, ‘Use From Editor’ checked
Global effects will be heard only when the Editor is active. The global effects
parameters on the effects page in the active Editor program determine the settings.
Settings in the Mixer will have no effect.
Scenario 3. Fixed selected, ‘Use From Editor’ unchecked
The current global effects settings will be used. The current settings reflect the
state of the last used Mixer settings. If a Mixer file is opened, the global effects
settings from that file become the current effects settings. In this scenario, the
Mixer is the only place where global effect changes will be heard in real time.
Scenario 4. Fixed selected, ‘Use From Editor’ checked
The current global effects settings from the Mixer will be used unless the Editor is
active. In this scenario, when the Editor is open the global effects settings on the
effects page of the active Editor program are used, overriding the settings in the
Mixer. When the Editor is quit, the global effects settings revert back to the current
Mixer settings.
Scenario 5. Channel is selected, ‘Use From Editor’ unchecked
The global effects settings on the effects page of the current program on the specified
MIDI channel will be used. Settings in the Mixer and Editor are not used even if
those applications are open. In this scenario, global effects settings are changed
whenever the program on the specified MIDI channel is changed.
Scenario 6. Channel is selected, ‘Use From Editor’ checked
The Global Effects settings on the effects page of the current program on the specified
MIDI channel will be used unless the Editor is open. In this scenario, when the
Editor is open the global effects settings on the effects page of the active Editor
program are used, overriding the settings on the specified MIDI channel. When
the Editor is quit, the global effects settings revert back to the current program on
the specified MIDI channel.
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5.5 Input/Output Settings
Default MIDI Input menu (Mac OS only)
This setting determines which (if any) MIDI input utility
application (Serial Input, OMS Input, or FreeMIDI Input)
is used for MIDI input when the Editor, MIDI Processor,
or Mixer is launched. The selected utility will be Figure 5.5.1. Input/Output
launched automatically and run in the background settings (Mac OS)
allowing live MIDI input while using the Retro AS-1
applications.
Selecting OMS or FreeMIDI requires those MIDI operating systems to
be installed. If your PowerMac does not have serial DMA hardware,
Serial Input cannot be used and OMS or FreeMIDI must be installed to
allow MIDI input into Retro AS-1. See Chapter 4 for more information. Figure 5.5.2. The Default MIDI
Input menu (Mac OS only).
Audio Output menu (Mac OS only)
This parameter determines where the synthesizer output is directed.
The default value is the Sound Manager, for use with PowerMac built-
in audio hardware.
When Direct IO is selected, the Sound Manager is bypassed altogether,
Figure 5.5.3. The Audio Output
and Retro AS-1 is routed directly to installed Digidesign digital audio menu (Mac OS only).
expansion hardware. If no Digidesign audio card is installed, the Direct
IO menu item is grayed out, indicating it is unavailable for selection.
NOTE: For more information about using Direct IO with audio

expansion hardware, see Appendix D.
Record To Disk Size menu (Mac OS only)

This parameter determines the digital bit depth of the audio files
produced by the Retro AS-1 Record To Disk feature. 8, 16, and 24 bits
are supported. See section 7.2 for details about Record To Disk. Figure 5.5.4. The Record To Disk
Size menu (Mac OS only).
MIDI Input Device (Windows 95 only)

This pull-down menu determines which MIDI
hardware port will be used for MIDI input when
the Use Direct MIDI Input checkbox is checked.
The items listed in the menu are the MIDI input
hardware devices that are properly installed and
configured in Windows 95.
Figure 5.5.5. Input/Output
Select your preferred device for live MIDI input from this menu. The settings (Windows 95)
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IMPORTANT! The first MIDI application launched “grabs” the MIDI
input port, making it unavailable for MIDI applications that are
launched subsequently. Be sure to launch the MIDI application that
requires the MIDI input before launching other MIDI applications.
Use Direct MIDI Input (Windows 95 only)

This checkbox determines if Retro AS-1 will “grab” the MIDI input
port when the synth engine is launched. The port that is used when
this parameter is active is determined by the MIDI Input Device
parameter.
If you are using a third-party MIDI application to control Retro AS-1 in
conjunction with the Retro AS-1 device driver (as opposed to using
Retro AS-1 stand-alone), this box should be unchecked. In this scenario,
you want the third-party MIDI application to use the MIDI input port.
You would then use the “MIDI through” function of the third-party
MIDI application to pass MIDI to Retro AS-1 via the Retro AS-1 device
driver.
5.6 Miscellaneous Settings

Warn About AppleTalk checkbox (Mac OS only)
AppleTalk requires continuous CPU processing and will reduce
Retro AS-1 performance. We strongly recommend turning AppleTalk
off whenever Retro AS-1 is being used. When this option is checked,
a warning window will appear once each time the synth engine is Figure 5.6.1. Miscellaneous
settings (Mac OS only).
launched if AppleTalk is active.
To disable the warning, uncheck the Warn About AppleTalk checkbox.
In either case, you can continue to use Retro AS-1 even if AppleTalk is
active, although with reduced performance. AppleTalk is disabled in Figure 5.6.2. The Status window
the Chooser utility, accessed from the Apple Menu. (Mac OS only).
Launch Retro AS-1 Status (Mac OS only)

Retro AS-1 Status is a utility application that gives a visual
indication of polyphony used and the amount of CPU usage
occurring at any given moment. The Status utility can help
you determine optimum settings for your system. Retro AS-
1 Status is located in the ‘Retro AS-1 Utilities’ folder, inside
the Retro AS-1 Folder.
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When ‘Launch Retro AS-1 Status’ is checked, the utility is opened
automatically whenever the synthesizer is launched, and quits
automatically when the synthesizer is closed. The window position of
Retro AS-1 Status is saved as a preference.
MIDI Processor Settings (Windows 95 only)

MIDI Channel
This parameter determines the MIDI channel that
the active MIDI Processor file will respond to.
The default setting is All MIDI channels.
The MIDI Channel setting allows MIDI processing
to occur only when transmitting on a particular
MIDI channel. When set to All, MIDI processing
will occur regardless of the MIDI transmission
channel. Figure 5.6.3. The MIDI Processor
settings (Windows 95 only).
Note that the selection affects the MIDI reception channel only. It has
no effect on the MIDI Channel parameter of a layer.
MIDI Program Change Selects Setup

If this option is checked, the active setup in the Setup List will be
modified with MIDI Program Change commands. The first setup in
the Setup List will be selected with MIDI program change #1, the
second setup will be selected with MIDI program change #2, and so
forth. For your convenience, setups can be reordered by dragging a
setup up or down in the list.
If this option is unchecked, synthesizer program changes will occur
normally on each MIDI channel. However, the program displayed in
the MIDI Processor will not be updated to reflect the current program.
This is due to internal architecture limitations.
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Chapter 6: MIDI Processor Reference
Chapter 6. MIDI Processor Reference
Chapter 6 Contents
6.1 MIDI Processor Overview
6.2 Key MIDI Processor concepts
6.3 MIDI Processor Menus
6.4 Setup List Parameters
6.5 Split/Layer Parameters
6.6 Arpeggiator Parameters
6.1 MIDI Processor Overview

The Retro AS-1 MIDI Processor allows you to modify the synthesizer
engine MIDI data in realtime by programming layers (two programs
sounding simultaneously), splits (two different programs on each side
of the keyboard), and arpeggiations (notes in a chord played
sequentially, one at time). The MIDI Processor can be thought of as
or own version of the Multis or Combinations of other manufacturer’s
hardware keyboards.
Once launched, the MIDI Processor remains active even when running
behind other applications such as the Editor or Keyboard. The MIDI
Processor can be used with a MIDI controller during live performance,
and also with third-party MIDI applications.
6.1.1 MIDI Processor Setups

The MIDI Processor supports two simultaneous programs, each on its
own MIDI channel. Any bank or program in the Retro AS-1 Programs
folder can be selected for each sound. The two programs can have
the same range (layered), or they can be limited to separate partial
ranges (split). Each layer can be transposed chromatically as well as
by octave.
The arpeggiator can be applied to one, both, or neither layers.
Arpeggiations can be specified by chords that are played or by one-
note play. Complex note patterns can be recorded or entered manually
in a list. A variety of modifiers and trigger modes are provided.
We call one complete set of layer, split, and arpeggiation settings a
Setup. Each setup name in the setup list contains a completely unique
set of parameters. Setups in the list become active as soon as they are
selected by the mouse. MIDI program change commands can select
setups as well, making Retro AS-1 a powerful live performance tool.
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6.1.2 MIDI Processor Files
Each MIDI Processor
window containing multiple
setups is a document that
can be saved as a disk file.
Multiple files can be open
simultaneously; the active
(frontmost) window is
always the active document.
The design of multiple
setups within a file and
multiple files accommodates
your working style. You
could, for example, have all
your favorite splits in one
document, layers in another,
and arpeggiations in
another. Additionally, you
could arrange all the splits,
layers, and arpeggiations for
one song or live set in one document, and another song in a different
Figure 6.1.1. The MIDI Processor
document. window. The parameter values
change when a Setup is selected
from the list on the left.
6.2 Key MIDI Processor Concepts

1. MIDI data processed by the MIDI Processor is not transmitted to
anything except the synthesizer engine.
2. MIDI output from the Processor and the synthesizer engine is not
available to MIDI applications or the MIDI output port(s).
3. The MIDI Processor receives data only from the synthesizer engine.
4. The MIDI Processor will not run “stand-alone” without the
synthesizer engine.
5. To hear programs that are currently loaded in the Editor, select
Editor from the Bank and Program menus.
6. The MIDI Processor switches to Bypass mode when there are no
MIDI Processor windows open.
7. Setups in the list can optionally be selected with MIDI program
change commands.
8. Notes can be triggered with the computer keyboard space bar when 90
the MIDI Processor is active. This preference can be disabled if desired.
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6.3 MIDI Processor Menus
File menu
The File menu contains commands for controlling
management tasks such as loading and saving files.
New
The New command creates a new, untitled document with
default MIDI Processor settings. Use the New command when
you want to create new setups from scratch.
Note: You can create your own default settings using the Save
As ‘New’ Template command in the File menu.
Figure 6.3.1. The File menu.

Open...
The Open command loads a previously saved MIDI Processor document
from disk, using the standard Open File dialog box. You can also open
a saved file by double-clicking its icon.
Close
The Close command closes the active MIDI Processor document.
Alternately, you can click the close box in the window title bar. If the
file has been modified since it was opened, you will be asked if you
want to save the changes. If you don’t want to overwrite the existing
disk file, choose the Save As... command instead.
Save
The Save command writes the active program file to disk, overwriting
the previously saved version of the file. If you don’t want to overwrite
the existing disk file, choose the Save As... command instead.
Save As...
The Save As command writes a new file to disk, leaving the original
file unchanged. You will have the choice to rename the file. The active
document window title will change to the name of the new file after
saving.
Save As ‘New’ Template

The Save As ‘New’ Template command allows you to create your own
default settings for new MIDI Processor documents. The settings in
the active window when this command is executed will be the same
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To restore the factory template settings, delete the Retro AS-1 MIDI
Processor preferences file inside the Preferences folder in the active
System Folder (Mac OS), or in the Retro AS-1 Programs folder (Windows
95).
Revert
The Revert command reloads the last saved version of the file from
disk. All changes made to the file since the last Save command are
permanently lost. Revert is convenient when you don’t like the most
recent series of modifications to your setups since the last Save
command.
Quit
The Quit command closes the Retro AS-1 MIDI Processor application.
If any Processor files that are open have been modified since the last
save, you will be asked if you want to keep those modifications.
If no other Retro AS-1 applications (Editor, Keyboard, Mixer, MIDI
driver) are open, quitting the MIDI Processor will also quit the synth
engine.
Edit Menu
The Edit menu contains several timesaving utility commands for
modifying program files. General program preferences are also found
in this menu.
Undo
The Undo command will revert the program back to the condition it
was in just before performing an edit function. Use Undo when you
don’t like the results of a parameter change.
Cut
The Cut command deletes selected data and stores it in the Clipboard
(a temporary storage buffer). The data in the Clipboard can then be Figure 6.3.2. The Edit menu.
placed elsewhere using the Paste command. Cut differs from the Copy
command in that the selected data is deleted.
Copy
The Copy command copies selected data and stores it in the Clipboard.
The copied data can then be placed elsewhere using the Paste
command.
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Paste
The Paste command places the data from the Clipboard into the selected
data field.
Clear
The Clear command deletes the selected data without storing it in the
Clipboard.
NOTE: The Cut, Copy, Paste, and Clear commands only work on
Setups in the Setup List (see Figure 6.4.1) and comments in the text
field (see Figure 6.5.6).
Bypass
The Bypass command stops the MIDI Processor from manipulating
any MIDI data. A checkmark indicates the Bypass status.
Normally, as soon as the MIDI Processor is launched, its settings are
active until the application is quit. Using Bypass allows you to turn off
MIDI processing even when the MIDI Processor application is open.
Latch
Figure 6.3.3a. The MIDI
The Latch command forces the MIDI Processor to ignore MIDI note- Processor Preferences window
off messages. Incoming notes will continue to play even if a note-off (Mac OS).
command is received.
Preferences...
The Preferences command opens the Preferences
window which contains options for specifying general
program behavior. Preference settings are retained
from previous sessions until they are modified and
saved.
‘New’ On Startup
If this option is checked, when the MIDI Processor is
launched, a new window with the default settings
will be automatically opened.
MIDI Channel
This parameter determines the MIDI channel that the
active MIDI Processor file will respond to. The default
setting is All MIDI channels.
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The MIDI Channel setting allows MIDI processing
to occur only when transmitting on a particular
MIDI channel. When set to All, MIDI processing
will occur regardless of the MIDI transmission
channel.
Note that the selection affects the MIDI reception
channel only. It has no effect on the MIDI Channel
parameter of a layer.
MIDI Program Change Selects Setup

If this option is checked, the active setup in the
Setup List will be modified with MIDI Program
Change commands. The first setup in the Setup
List will be selected with MIDI program change
#1, the second setup will be selected with MIDI program change #2, Figure 6.3.3b. The MIDI
and so forth. For your convenience, setups can be reordered by Processor Preferences window
dragging a setup up or down in the list. (Windows 95).
If this option is unchecked, synthesizer program changes will occur

normally on each MIDI channel. However, the program name displayed
in the MIDI Processor will not be updated to reflect the current
program. This is due to internal architectural limitations.
NOTE: In Windows 95, the MIDI Channel and MIDI Program Change
Selects Setup parameters are located in the Retro AS-1 control panel.
Pedal menu
The preferences Pedal menu defines which MIDI controller will be
used when Pedal is selected in the arpeggiator Trigger menu (see Figure 6.3.4. The Preferences
Figure 6.6.7). To view the list of MIDI controller numbers that are Pedal menu.
assigned to the menu, see Chapter 5, section 5.3.
Play With Spacebar

Play With Spacebar allows you to hear the current MIDI Processor
setup without having to use a MIDI controller or the Retro AS-1
Keyboard application. When Play With Spacebar is active (when the
box is checked), pressing the space bar on the computer keyboard
will trigger the note selected from the Note pull-down menu.
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Synthesizer Menu
The Synthesizer menu contains several utility commands,
offering access to other key components of the Retro AS-1
package.
All Notes Off

Selecting All Notes Off from the Synthesizer menu stops all
Retro AS-1 sounds from playing. It is a “MIDI panic button”
which is useful for silencing notes that are stuck on as a result
of MIDI controller faults or other problems.
Reset
This command resets the synth engine and forces all MIDI continuous Figure 6.3.5. The Synthesizer
menu.
controller values to be reset to zero.
Start Record To Disk...

The Record To Disk function writes the stereo output of the synthesizer
engine to your hard drive as an audio file. Whatever the synthesizer is
playing (notes, chords, riffs, arpeggiations, etc, on all MIDI channels,
including effects) is written directly to disk. Complete instructions for
Record To Disk are in Appendix G.
Stop Record To Disk

The Stop Record To Disk command ends the Record To Disk process.
This command will have no result unless the Record To Disk function
is active.
Control Panel...
Selecting this item from the Synthesizer menu opens the Retro AS-1
Control Panel, where system-level configuration settings are specified
For specific information about the control panel, refer to Chapter 5.
Status... (Mac OS only)

Status window, for displaying polyphony and CPU usage. For specific
information about the Status window, refer to Chapter 5.
Keyboard...
Keyboard, for triggering notes without a MIDI controller. For specific
information about the Keyboard, refer to Chapter 8.
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Editor...
Selecting this item from the Synthesizer menu opens the Retro
AS-1 Editor application, for accessing synthesizer voicing
parameters. For specific information about the Editor, refer to
Chapter 7.
Mixer...
Selecting this item from the Synthesizer menu opens the Retro
AS-1 Mixer application, for setting up multi-timbral operations.
For specific information about the Mixer application, refer to
Chapter 9.
Figure 6.3.6a. The Windows

menu (Windows 95) selects
Windows Menu between open MP documents,
NOT between the Setups within
The Windows menu allows you to switch between active MIDI one document.
Processor documents. The Windows menu does NOT select Setups in
the Setup List of the active document. The number of items in the
Windows menu matches the number of open document files. Selecting
a document from the menu brings that document to the front and
makes it active.
(Mac OS only) The first ten windows (in the order that they were
opened) can be activated with keyboard equivalents Command-1
through Command-10. The number of setup windows you can
have open is limited only by the application memory allocation in
the Finder.
Figure 6.3.6b. The Windows

menu (Mac OS) selects between
6.4 Setup List Parameters open MP documents, NOT
between the Setups within one
document.
The Setup List
The names of all setups in the active MIDI Processor document are
displayed in the Setup List. Each setup name represents a complete
set of MIDI Processor parameters. Selecting a different setup from the
list makes the new setup parameters active.
Select setups from the list by clicking on setup names with the mouse.
Alternately, you can use the up/down arrow keys to move up and
down sequentially in the list.
Setups can be selected with MIDI program changes, if the option is
selected in the Preferences window (Mac OS, see figure 6.3.3) or the
Retro AS-1 control panel (Windows 95, see figure 5.6.3). Program
change #1 will select the first setup in the list, program change #2 will 96
select the second setup, and so forth.
Retro AS-1 Manual
You can click and drag setups to reorder items in the
Setup List. Additionally, the Cut, Copy, and Paste
commands work with setups in the list. After performing
a Cut or Copy command, click an empty area in the list
then select Paste. A new setup from the Clipboard will
appear in the list.
Add... button
Clicking the Add... button creates a new setup in the
list. The Setup Name window (Figure 6.4.3) will be Figure 6.4.1. The Setup List. Each
Setup represents a complete set of
opened, allowing you to type in a name for the setup. MIDI Processor parameters.
New setups added to the list have the default settings.
Use the Save As ‘New’ Template command in the File
menu to create new default settings.
Delete button Figure 6.4.2. The Setup Add,

Delete, and Rename buttons.
Clicking the Delete button removes the
currently selected setup from the list.
Selecting Undo from the Edit menu will
restore a deleted setup if there have been
no other edits since the deletion.
Rename... button
Clicking the Rename... button allows you
to modify the name of an existing setup.
The Setup Name window is opened
when the button is pressed, allowing you
to modify the setup name.
Figure 6.4.3. The Setup Name

window.
6.5 Split/Layer Parameters
Mode radio buttons
When the arpeggiator is on, the arpeggiator Notes menu
(see figure 6.6.5) will override the Mode setting.
Single Mode
When Single mode is selected, no split or layering will
occur; only the First/Lower program will sound.
Incoming MIDI data is re-channelized and sent to the Figure 6.5.1. The Mode radio
buttons and Split Note menu.
synthesizer on the First/Lower MIDI channel.
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Split Mode
When Split mode is selected, the First/Lower program will sound below
the split note, and the Second/Upper program will sound above the
split note. The split note is selected within the split note pull-down
menu.
Split Note menu

This menu determines the break point between the two sounds in the
split. MIDI note #60 equals C4.
Layer radio button

When Layer mode is selected, the First/Lower program and Second/
Upper program will sound simultaneously.
Setup Layers
Because the First/Lower and Second/Upper sections
are essentially the same, their parameters are detailed
only once.
Channel
This parameter selects which MIDI channel for the layer
will be used by the synthesizer. Incoming MIDI data is
re-channelized to match this channel. The MIDI
Processor will only respond to incoming MIDI data on
Figure 6.5.2. The Setup Layer
the MIDI channel specified in the Preferences window (Mac OS, see parameters. The First/Lower and
figure 6.3.3) or the Retro AS-1 control panel (Windows 95, see figure Second/Upper parameters are
5.6.3). identical.
Bank
This parameter selects which Bank for the layer will be used by the
synthesizer. To use programs that are being modified in the Editor,
select Editor from this menu.
Program
This parameter selects which Program for the layer will be used by
the synthesizer. To use programs that are being modified in the Editor,
select Editor 1-16 from this menu. The numbers 1-16 indicate the
MIDI channel that the program is set to in the Editor global page.
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Transpose
This parameter selects the transposition for the layer. Transposition
can be adjusted up or down two octaves in half-step intervals. Use
Transpose to shift the layer into a more usable range if desired. If
transpositions more than two octaves are required, modify the program
itself on the Editor global page.
Edit
This parameter automatically opens the selected
program in the Editor and switches the MIDI channel
value on the Editor global page to match the channel
specified by the MIDI Processor setup layer. The Edit
button makes it easy to modify sounds while
programming setups.
IMPORTANT! If Editor 1-16 is selected in the setup layer program Figure 6.5.2. The Comments
and you edit, save, and close that program in the Editor, to hear window
those changes you must reselect the program in the setup layer to
reload the program from disk.
Comments Window
A text box is provided as a place to type your notes about the setup
document. Up to 255 characters can be entered or pasted into the
comment field. Comments are saved in the setup file. The Cut, Copy,
and Paste commands can be used.
6.6 Arpeggiator Parameters

Figure 6.6.1 The Arpeggiator
An arpeggiator plays the notes of a chord monophonically (one at a Type buttons
time) in sequence.
Arpeggiation Type Radio Buttons

Off
When the Off option is selected from the arpeggiator Type radio buttons,
no arpeggiation will occur.
Played
When the Played option is selected, incoming polyphonic MIDI data
will arpeggiated. If the Range menu is active when Played is selected. Figure 6.6.2. The Chord menu
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Chord
When the Chord option is selected, a single incoming MIDI note will
be played as the root of a chord selected from the chord pull-down
menu (Figure 6.6.2). If more than one note is played when the chord
function is on, the Base menu determines which note of the incoming
chord will be used as the root of the chord function.
List
The arpeggiator list (Figure 6.6.3) is essentially a “riff
recorder.” When List is selected, notes in the arpeggiator
note list will be played. Incoming MIDI data will
determine the transposition of the notes in the list,
relative to the Root menu (Figure 6.6.3) selection. Each
MIDI note in the list is followed by a number in
parenthesis which indicates the MIDI velocity value of
the note. Notes are added to the list with the Add button
(Figure 6.4.3) and Record button (Figure 6.4.4).
Figure 6.6.3. The Arpeggiator
NOTE: Notes in the list can be reordered by dragging List. A velocity value of 0 creates
them with the mouse. a rest.
Root menu
The Root menu (Figure 6.6.3) is a transpose feature for the Chord
menu and arpeggiator List. It is active whenever Chord or List is selected
as the arpeggiator Type.
Because the Root menu and incoming MIDI notes both transpose the
arpeggiator list, “double transpositions” will occur when the Note
menu value is not C4 AND incoming MIDI is not C4.
List Record button

The Record button (Figure 6.6.4) allows step-entry of notes into the
arpeggiator list. Held MIDI notes are added to the arpeggiator list when
Record is pressed. To add notes to the list using this feature, play and
hold a note (or notes) with a MIDI controller, then press the Record Figure 6.6.4. The List Record
button and release the note(s). If new notes are played and Record is button.
pressed again, the new notes will be added to the existing notes.
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Add... button
The Add... button opens the Note window (see
figure 6.6.5), where new notes are added to the
arpeggiator list one at a time. In the Note window,
select a note from the pull-down menu, then select
a velocity with the Velocity slider. After pressing
OK the added note and its velocity will be displayed
in the arpeggiator list.
Delete button
The Delete button removes existing notes from the
arpeggiator list. The note that is selected
(highlighted) is the note that will be deleted.
Figure 6.6.5. The Note window.
Edit...
The Edit... button opens the Note window (Figure 6.6.5), allowing
the modification of pitch and velocity of existing notes in the
arpeggiator list. The note that is selected (highlighted) is the note
that will be edited. Alternately, you can double-click a note in the list
to open the Note window.
Other Arpeggiator Controls

Notes menu
The Notes menu (Figure 6.6.6) determines which sound (First/Lower
, Second/Upper) will be arpeggiated. The function of each menu
item is described on the next page.
Figure 6.6.6. The Notes menu.
First/Upper
Arpeggiation will occur on the First/Lower layer only.
Second/Upper
Arpeggiation will occur on the Second/Upper layer only.
Split
Arpeggiation will occur on both layers as a split, overriding the setup
mode setting. The sound switches back and forth between layers if
the arpeggiation crosses the split note.
Layer
Arpeggiation will occur on both layers simultaneously, overriding
the setup mode setting.
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Direction menu
This option selects the order in which the notes of a chord are played.
Trigger menu
Figure 6.6.7. The Direction menu.
Triggering the arpeggiator begins playing the arpeggiator notes. The
Trigger menu determines by what method the arpeggiator notes will
be activated. The function of each menu item is described below.
Manual
The arpeggiator will be triggered only when the Trigger button is
clicked.
Last Key Figure 6.6.8. The Trigger menu.
The arpeggiator retriggers each time a note is played.
Low Key
The arpeggiator retriggers each time the lowest note of a chord is
played. If a low note is held, upper notes can be added to the chord
without retriggering.
High Key
The arpeggiator retriggers each time the highest note of a chord is
played. If a high note is held, lower notes can be added to the chord
without retriggering.
Pedal
The arpeggiator retriggers each time the MIDI pedal defined in the
MIDI Processor Preferences window (see Figure 6.3.3) is pressed.
Base menu
The Base menu (figure 6.6.9) selects which note of an incoming chord
will be used as the root of the arpeggiation when the Chord or List
feature is active. Because incoming notes transpose the Chord and
List features, which note of an incoming chord to be used as the root Figure 6.6.9. The Base menu.
note can be specified. The function of each menu item is described on
the next page.
Last
The last played note of the chord will determine the root.
Lowest
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The lowest note of the chord will determine the root.
Highest
The highest note of the chord will determine the root. Figure 6.6.10. The Range menu
Range menu
This option allows the arpeggiator notes to extend beyond the played
notes. If 1 octave is selected, only the played notes (or notes in the
List and Chord functions) will sound. If more than 1 octave is selected,
first the played notes will sound, then the played notes will sound
again, transposed up by the number of octaves selected.
Division menu
The Division menu determines each arpeggiator note’s rhythmic value
as a division of the Tempo. Figure 6.6.11. The Division menu.
Trigger button
The Trigger button begins playback of notes in the arpeggiation list,
allowing arpeggiations to begin without incoming MIDI notes. If the
Trigger menu is set to Manual, only the trigger button will activate the Figure 6.6.12. The Trigger button.
arpeggiator.
Stop button
Pressing this button stops the arpeggiator. The button is grayed out if
the arpeggiator is not active. Figure 6.6.13. The Stop button.
MIDI Sync checkbox

The arpeggiator will be synchronized to the tempo of incoming MIDI
beat clock events when this box is checked. Use the Division menu to
subdivide the incoming MIDI clock tempo.
Tempo slider
Determines the tempo of the arpeggiation in beats per minute. Use
the Division menu to subdivide the tempo.
The tempo cannot be manually adjusted when MIDI Sync is active. If
the MIDI Sync box is checked, the tempo slider is greyed out. However,
if MIDI Sync is checked and no MIDI clock is being received by the
synth engine, the tempo is determined by the tempo slider value.
Figure 6.6.14. The Tempo slider

and MIDI Sync checkbox.
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Chapter 7: Editor Reference
Chapter 7. Editor Reference
Chapter 7 Contents
7.1 Editor Overview
7.2 Editor Menus
7.3 Editor Main Page
7.4 Editor Modulation Page
7.5 Editor Effects Page
7.6 Editor Global Page
7.1 Editor Overview Figure 7.0. The Editor Main Page.

There are 4 pages of voicing
The Retro AS-1 Editor is the main sound design application. The Editor parameters.
allows you to create, edit, and save program files. All the voicing
parameters for a complete synthesizer “patch” are contained within a
program file. Multiple program windows can be open simultaneously;
the frontmost window (the one with grey lines in the title bar) is always
the active program. Voicing parameters are grouped into four pages:
Main (oscillators and filters), Modulation, Effects, and Global. Each
page contains dozens of related settings.
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To edit programs in real-time using when using a MIDI controller or MIDI
application, the MIDI channel parameter on the Global page must match the
MIDI transmission channel of the incoming note data. This is the only
parameter in the Editor that is not saved within a program file. Programs
being modified in the Editor can be heard within the MIDI Processor,
Keyboard, and Mixer applications only if Editor is selected from those
application’s Bank and Program menus.
7.1.2 Key Editor Concepts

1. The primary function of the Editor is to create and modify synthesizer
program voicing parameters. It does not need to be open to use the synthesizer
for playing existing programs.
2. The MIDI channel of the program being edited is selected on the Global
page. This is the only parameter that is not saved with the program file.
3. To edit a program that is selected by the MIDI Processor, Mixer, or Keyboard,
first load the program into the Editor, then select ‘Editor’ from the Bank/
Program menus in those applications.
4. To hear the Global Effects settings that are in a program while it is loaded
into the Editor, select ‘Use From Editor’ in the Retro AS-1 control panel.
5. Files can be saved anywhere, but to be accessible from the MIDI Processor,
Keyboard, Mixer, or MIDI Bank/Program change commands, they must reside
in the Retro AS-1 Programs folder.
(Mac OS only) An alias to this folder with the exact name “Retro AS-1
Programs” must reside at root level of the System Folder.
6. Notes can be triggered with the computer keyboard space bar when the
Editor is active. This preference can be disabled if desired.
7.1.3 Parameter Editing Conventions

All of the Retro AS-1 components use a consistent interface design for ease
of use. The parameters of these components use a combination of menu
items, on/off switches, pull-down menus, and sliders to manipulate the
available settings.
Listed below are instructions for adjusting the various parameter types:
• Parameter switches such as oscillator on/off buttons and filter input
checkboxes are changed by clicking on them once with the mouse.
• Pull-down menu parameters such as waveform types are selected by click-
hold-dragging the menu item, then releasing the mouse on the desired
selection.
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• Parameter slider values can be manipulated in four different ways
(see Figure 7.1.1):
1. Click, hold, and drag the horizontal slider bar.
2. Increment or decrement by a value of one by clicking at the
top or bottom of the slider.
3. Increment or decrement by a value of ten percent of the total
range by clicking on the vertical slider line, between the
horizontal slider bar and the end of the vertical slider range.
4. Option-click (Mac OS) or double-click (Windows 95) the slider
value to call up a text entry box. Input a number directly using
the number keys on your computer keyboard, then press Return
or Enter.
Click the slider name Click above slider bar

to increment by one. to increment by ten
percent.
Figure 7.1.1. Parameter Slider
“hot spots” for editing values.
Click, hold, and Click below slider bar to

drag the slider bar. decrement by ten percent.
Option – click (Mac OS) or

Click the slider value to
double-click (Windows 95) here
decrement by one.
to bring up a text entry box. Press
Return after entering a value.
7.2. Editor Menu Items

This section explains the commands found in each of the five
menus.
File Menu
The File menu contains commands for controlling
management tasks such as loading and saving files.
Figure 7.2.1. The Editor File

menu.
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New
The New command creates a new, untitled program file with the default
program settings. Use the New command when you want to create a
new default synthesizer program from scratch.
Note: You can create your own default settings using the Save As
‘New’ Template command in the File menu.
Open...
The Open command loads a previously saved program file from disk,
using the standard Open File dialog box. You can also open a saved
file by double-clicking its icon.
Close
The Close command closes the active program file. Alternately, you
can click the close box of the window title bar. If the file has been
modified since it was opened, you will be asked if you want to save
the changes. If you don’t want to overwrite the existing disk file, choose
the Save As... command instead.
Save
The Save command writes the active program file to disk, overwriting
Save As...
program window title will change to the new name after saving.
Save As ‘New’ Template

The Save As ‘New’ Template command allows you to create your own
default settings for new Editor programs. The settings in the active
window when this command is executed will be the same settings
created when “New...” is selected from the File menu.
To restore the factory template defaults, delete the Retro AS-1 Editor
preferences file inside the Preferences folder in the active System Folder
(Mac OS), or at the root level of the Retro AS-1 Folder (Windows 95).
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Revert
The Revert command reloads the last saved version of the file from
disk. All changes made to the file since the last Save command are
permanently lost. Revert is handy when you don’t like the most recent
series of modifications to your program since the last Save command.
Quit
The Quit command closes the Retro AS-1 Editor application. If any
program files that are open have been modified since saving, you will
be asked if you want to save those modifications.
If no other Retro AS-1 applications (MIDI Processor, Keyboard, Mixer,
MIDI driver) are open, quitting the Editor will also quit the synth
engine.
Edit Menu
The Edit menu contains several timesaving utility commands
for modifying programs. General program preferences are
found here also.
Undo
The Undo command will revert the program back to the state
it was in just before performing an edit function. Use Undo
when you don’t like the results of a parameter change.
Cut
The Cut command deletes selected data and stores it in the Clipboard Figure 7.2.2. The Edit menu
(a temporary storage buffer). The stored data can then be placed
elsewhere using the Paste command. Cut differs from the Copy
command in that the selected data is deleted.
Copy
The Copy command copies selected data and stores it in the Clipboard.
The copied data can then be placed elsewhere using the Paste
command.
Paste
The Paste command places the data from the Clipboard into the selected
data field.
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NOTE: The Cut, Copy, and Paste commands work only for
Modulators on the Modulation page (figure 7.4.5), and Comments
on the Global page (figure 7.6.1).
Clear
The Clear command deletes selected data but does not place that data
in the Clipboard.
Select All
The Select All command selects all of the text in the Comments window
(Figure 7.6.1), in preparation for the Copy or Cut commands.
Randomize
The Randomize command randomly assigns a new value to every
slider parameter in the program. Randomize does not change the status
of menus or on/off buttons. Use Randomize when you want a different
sound NOW!
Preferences...
The Preferences command opens the Preferences window,
which contains several options for specifying general program
behavior. Preference settings are stored as a preference and
remain the same until they are modified.
‘New’ On Startup
If this option is checked, a new, untitled program file with
the default template settings is created when the Editor is
launched.
MIDI Channel
The MIDI channel that the active Editor program responds
to is determined by the MIDI Channel parameter on the Global
page. This preference parameter determines which MIDI
channel will be the default value when selecting a ‘New’
program from the File menu.
Envelope Editing radio buttons

This option allows you to reverse how Modulator envelope
parameter values are displayed. If the Rate/Time selection is
changed, the envelope modulator parameter values are
inverted. Figure 7.2.3. The Editor
Preferences window.
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Rate
When Rate is selected, a higher envelope parameter value means a greater rate. A
value of 100 will mean “fast rate of time” and a value of 0 will mean “slow rate of
time.”
Time
When Time is selected, a higher envelope parameter value means a greater time. A
value of 0 will mean “fast length of time” and 100 will mean “slow length of time.”
Graphical checkbox
Modulator envelopes can be displayed and modified using the graphical envelope
feature. When this box is checked, envelopes will be displayed graphically instead
of as sliders. The Rate/Time preference applies to the graphical envelopes.
Play With Spacebar checkbox

Play With Spacebar allows you to hear the current Editor program without having
to use a MIDI controller or the Retro AS-1 Keyboard application. When Play With
Spacebar is active (when the box is checked), pressing the space bar on the computer
keyboard will trigger the note selected from the Note pull-down menu. The MIDI
channel of the note transmitted to the engine by the spacebar is specified by the
MIDI Channel menu.
Page Menu
The Page menu allows navigation through the four pages of
parameters as an alternative to clicking on the window page tabs.
(Figure 7.2.5)
Main
Select Main from the Page menu to switch to the main (oscillators
and filters) parameter page.
Modulation
Select Modulation from the Page menu to switch to the modulation
Figure 7.2.4. The Page menu.
parameter page.
Effects
Select Effects from the Page menu
to switch to the effects parameter
Figure 7.2.5. The Page tabs in a
page. program window perform the
same function as the Page menu.
Global
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Select Global from the Page menu to switch to the global parameter page.
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Synthesizer Menu
The Synthesizer menu contains several utility commands,
offering access to other key components of the Retro AS-1
package
All Notes Off

Selecting All Notes Off from the Synthesizer menu stops all Retro
AS-1 sounds from playing. It is a “MIDI panic button” which is
useful for silencing notes that are stuck on as a result of MIDI
controller faults or other problems.
Reset
Selecting Reset from the Synthesizer menu resets the synth engine Figure 7.2.6. The Editor
and forces all MIDI continuous controller values to be reset to zero. Synthesizer menu.

Stop Record To Disk

is active.
Control Panel...
Control Panel, where system-level configuration settings are specified.

Keyboard...
Keyboard, for triggering notes without a MIDI controller. For specific
information about the Keyboard, refer to Chapter 8.
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MIDI Processor...
MIDI Processor application, for programming splits, layers, and
arpeggiations. For specific information about the MIDI Processor, refer
to Chapter 6.
Mixer...
Selecting this item from the Synthesizer menu opens the
Retro AS-1 Mixer application, for setting up multi-timbral
operations. For specific information about the Mixer
application, refer to Chapter 9.
Windows Menu
The Windows menu allows you to switch between active
Editor programs. The number of items in the Windows
menu matches the number of open document files.
Selecting a document from the menu brings that
document to the front and makes it active.
Figure 7.2.7a. The Editor
(Mac OS only) The first 10 open programs can be selected by pressing Windows menu allows you to
command 1-0. The number of simultaneously open program windows switch between multiple
programs that are open in the
is limited only by the application memory allocation in the Finder. Editor.
7.3 Main Page

The Main page (see figure 7.0) contains the oscillator and filter voicing
parameters for the synthesizer. Modulation parameters for the
oscillators and filters are located on the Modulation page.
Oscillator Overview
The oscillator is the primary building block in synthesis, the source
upon which all other synthesis functions act upon.
There are three oscillators available for each program. All oscillators
Figure 7.2.7b. The Editor
can be used simultaneously for a three-layer sound. Oscillators do not Windows menu (Windows 95).
have to be routed through a filter in order to be audible. An oscillator
can be used as a source for Synchronization (Sync), Frequency
Modulation emulation (FM), or Cutoff Modulation (CM) without being
routed through a filter.
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There are nine waveform types available for each oscillator. Each
waveform has its own sound due to its unique harmonic overtone
structure. By using the Sync, Symmetry, and FM parameters, an (almost)
unlimited number of waveform harmonic variations can be created.
All available oscillator sliders are available as a modulation destination
for dynamic pitch and timbre changes over time.
In addition to the three audio-frequency oscillators, multiple low-
frequency oscillators (LFOs) can be used as modulation sources. See
the Modulation Page (section 7.4) for more information on LFOs.
For more information about synthesizer basics, see Appendix E.
Oscillator Parameters
Figure 7.3.1. The oscillator

parameters.
Because oscillators 1, 2, and 3 are identical, their parameters are detailed

in this section only once. Refer to Figure 7.3.1 for this section.
Oscillator On/Off button

The oscillator On/Off button is represented by a speaker icon. When
the oscillator is off, the button is blue. When it is on, the button changes On
to yellow.
Click the button once to toggle the on/off state of the oscillator. The
Configuration window will update to indicate the change.
Off
IMPORTANT! Turning an oscillator on requires more processing power Figure 7.3.2. The oscillator On/
from the CPU. Leave oscillators off unless you are actually using them Off button
in a sound.
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Oscillator Keyboard Track button
When Keyboard Track is on, the oscillator pitch will “track” (play the
pitch of) the incoming MIDI note number. When Keyboard Track is On
off, the oscillator will produce the same pitch regardless of the MIDI
note played. The base note of C4 (middle C) when Keyboard Track is
off can be modified with the Coarse and Fine tuning parameters.
Oscillator Menus Off
Figure 7.3.2b .The Keyboard

Each oscillator has three pull-down menus. Click, hold, drag, and Track button. Keyboard Track is
release on the desired menu item to change the selection. the oscillator “non-transpose”
option.
Oscillator Type Menu
The Type menu selects the waveform shape for the oscillator. Waveform
variations can be created using the Symmetry parameter.
Figure 7.3.3 .The Oscillator

Sawtooth Triangle Pulse Type menu
Sine Sine Squared Glottal
White Noise Full bandwidth noise (all frequencies equal)
Pink Noise Upper frequencies attenuated by -3db per octave
Red Noise Upper frequencies attenuated by -6db per octave

Noise
Figure 7.3.4. The waveform types
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Sync Menu
Synchronization is a waveform reset function. It forces an oscillator to
trigger again at the beginning of its cycle each time the modulator (the
Sync menu selection, Figure 7.3.5) completes its cycle.
The Sync menu selects which oscillator or filter will be used as a
synchronization source. If a source oscillator is selected from the Sync
menu, the source oscillator must be enabled; however it does not Figure 7.3.5. The Sync and FM
have to be routed through a filter. Each parameter of the Sync source menus. The source selections are
will have an effect on the carrier waveform. identical for both menus.
Sync Source
waveform (Sync Figure 7.3.6. Waveform Sync
menu selection) illustration. When the sync
source waveform crosses zero,
the destination waveform cycle is
forced to begin its cycle from
Resulting zero.
waveform
FM Menu
Frequency Modulation (FM) emulation is used to modulate the
frequency of one oscillator (the carrier) with another oscillator or filter
(the modulator). Retro AS-1 takes FM emulation to the next level by
using FM in conjunction with subtractive synthesis (filtering).
The FM menu (Figure 7.3.5) selects the source modulator. If a source
oscillator is selected from the FM menu, the source oscillator must be
enabled. However, it does not have to be routed through a filter. Each
parameter of the FM source will have an effect on the waveform.
When a source is selected in the FM menu, the FM Amount parameter
must be increased above zero to have an effect.
IMPORTANT! Turning FM on requires more processing power from

the CPU. Leave FM off unless you are actually using it in a sound.
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Oscillator Sliders
Refer to Figure 7.3.1. for the oscillator slider descriptions.
Coarse
The Coarse parameter determines the frequency of the oscillator in
musical semitones (1 semitone = 1 half step = 100 cents). When the
Coarse value is zero, playing MIDI note number 60 will sound Middle
C (C4). If the value is 12, the pitch of the oscillator will increase by
one octave; –24 will decrease the pitch by two octaves; 7 will increase
the pitch by a perfect fifth, and so forth. There is an eight-octave (+/
–four octaves) range.
NOTE: To change the global tuning for the entire program (not just
one oscillator), use the Global Transpose parameter, located on the
Global Page.
Fine
The Fine parameter tunes the oscillator frequency between musical
semitones. The range is 100 cents (+/– 50 cents), or one quarter-step
sharp or flat. If you need to tune beyond this range, use the Coarse
parameter. Use the Fine parameter to “detune” oscillators for a chorus
type of effect.
Random
Random is designed to add “analog instability” to the oscillator. When
the value is set above zero, the oscillator will play out of tune by a
random amount each time a note is triggered.
The Random parameter determines the maximum amount of pitch
deviation. With a Random amount of 100, the maximum pitch deviation
is one semitone.
Symmetry
This parameter alters the shape of the waveform selected in the Type
menu. The Symmetry parameter allows continuous control of the
waveform shape, yet another new tool for creative sound design. For
example, Symmetry changes a Square waveform to a Pulse waveform
and all points between. A Sawtooth wave with a symmetry value of
100 becomes a triangle wave.
The Symmetry slider effects only the Sawtooth, Pulse, and Glottal
waveforms. It is unavailable when other waveforms are selected. See
Figure 7.3.7 below for an illustration of Symmetry control.
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Symmetry Amount
Symmetry Amount
Symmetry Amount
Figure 7.3.7. How Symmetry

affects waveform shape
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FM Amount
FM Amount determines the amount of frequency modulation emulation
to be applied to the oscillator. This parameter is unavailable when the
FM menu (Figure 7.3.5) is set to None.
Oscillator Volume
The Volume level sets the output level of the oscillator before it is
routed to the filter. Use the Volume parameter to set the relative volume
levels when multiple oscillators are active.
Enabled oscillator volumes are added at the filter input (Figure 7.3.11).
If multiple oscillators are enabled and their volumes are set high,
clipping distortion may occur. We allow this for your creative freedom.
If distortion is not wanted, reduce the oscillator volume when multiple
oscillators are used.
NOTE: To change the Global volume for the entire program (not just
one oscillator), use the Global volume parameter, located on the
Global page.
Filters Overview
Filters are another important building block in the synthesis process.
Filters work by removing harmonic content from a waveform, resulting
in a different sound. This process is known as subtractive synthesis.
Retro AS-1 has two programmable filters available per program. One,
two, or all three oscillators can be routed through one or both filters.
13 filter types are available for each filter. Each filter can accept input
from the other filter, allowing for serial or parallel filtering effects.
This can effectively double the available filter slope, for up to 48 decibels
(db) per octave of filter roll-off.
Filters can be overdriven for distortion, and be made to self-oscillate
with resonance. And all filter sliders are available as a modulation
destination for dynamic timbre changes over time. You will find many
new ways to create rich new sounds with the Retro AS-1 filters.
For more information about synthesizer basics, see Appendix E.
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Figure 7.3.8. The Filter
parameters.
Filter Parameters
Because filters 1 and 2 are identical, their parameters are detailed in
this section only once. Refer to Figure 7.3.8 for parameter descriptions. On
Filter On/Off button

The Filter On/Off button is represented by a speaker icon. When the
filter is off, the button is blue. When it is on, the button changes to Off
yellow. Figure 7.3.8. The Filter On/Off
button.
Click the button once to toggle the on/off state of the filter. The
Configuration window will update to indicate the change.
IMPORTANT! Turning a filter on requires more processing power

from the CPU. Leave filters off unless you are actually using them in
a sound.
Filter Type menu

Thirteen filter types are available. Each processes the waveform(s)
differently and will result in a different sound. Each filter type is
described below.
1 Pole Low Pass

This is the most basic filter type, and is the least CPU-intensive. It
attenuates frequencies above the cutoff frequency, with a filter slope
of 6db per octave. The Spread and Resonance parameters (see figure Figure 7.3.9. The Filter Type
7.3.7) are unavailable when this filter type is selected. menu.
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2 Pole Low Pass
This filter type attenuates frequencies above the cutoff frequency, with
a filter slope of 12db per octave. The Resonance parameter is
unavailable when this filter type is selected. If you want resonance in
a 2-pole filter, use the State Variable Low Pass filter type.
4 Pole Low Pass Resonant

This filter type attenuates high frequencies above the cutoff frequency
with a filter slope of 24db per octave, with resonance (filter feedback).
1 Pole High Pass

This is the most basic filter type, and is the least CPU-intensive. It
attenuates frequencies below the cutoff frequency, with a filter slope
of 6db per octave. The Spread and Resonance parameters (see figure
7.3.7) are unavailable when this filter type is selected.
2 Pole High Pass

This filter type attenuates frequencies below the cutoff frequency, with
a filter slope of 12db per octave. The Resonance parameter is
unavailable when this filter type is selected. If you want resonance in
a 2-pole filter, use the State Variable High Pass filter type.
4 Pole High Pass Resonant

This filter type attenuates high frequencies below the cutoff frequency
with a filter slope of 24db per octave, with resonance (filter feedback).
The All Pass Filters

The All Pass filter types pass all frequencies equally with no attenuation.
With no resonance applied in an all pass filter, the sound is unaffected.
You may ask then, what’s the point? The point is, the resonance
parameter creates a frequency boost at the cutoff frequency. The
bandwidth of this emphasis peak is determined by the number of
poles in the filter. By adding resonance to an all pass filter, interesting
sonic variations are created.
1 Pole All Pass Resonant

The resonance parameter creates an emphasis boost at the cutoff
frequency with a 6db per octave bandwidth.

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State Variable LP (Low Pass)

This filter type attenuates frequencies above the cutoff frequency, with
a filter slope of 12db per octave. It is the similar to the 2-Pole Low Pass
type, and includes the Resonance parameter. The Spread parameter is
unavailable when this filter type is selected. If you want a 2-pole filter
but don’t need resonance, you can use the 2-Pole Low Pass type to
save on CPU processing.
State Variable BP (Band Pass)

This is a bandpass filter with a slope of 12db per octave. Frequencies
at the cutoff frequency are allowed to pass. Frequencies above and
below the cutoff frequency are attenuated. The Spread parameter is
unavailable when this filter type is selected.
The filter bandwidth is varied with the Resonance parameter. A lower
value of Resonance has a wider bandwidth; a higher value has a
narrower bandwidth.
State Variable BS (Band Stop)

This is a notch filter with a slope of 12db per octave. Frequencies at
the cutoff frequency are attenuated. Frequencies above and below the
cutoff frequency are allowed to pass. The Spread parameter is
unavailable when this filter type is selected.
The filter bandwidth is varied with the Resonance parameter. A lower
value of Resonance has a wider bandwidth; a higher value has a
narrower bandwidth.
State Variable HP (High Pass)

This is a highpass filter with a slope of 12db per octave. Frequencies
above the cutoff frequency are allowed to pass. Frequencies below the
cutoff frequency are attenuated. The Spread parameter is unavailable
when this filter type is selected.
CM (Cutoff Modulation) Menu

This menu selects the source of filter cutoff frequency modulation
(“PolyMod”). When a source is selected in the CM menu, the CM
Amount parameter must be increased above zero to have an effect.
Figure 7.3.10. The CM menu.
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IMPORTANT! Turning CM on requires more processing power from
the CPU. Leave CM off unless you are actually using it in a sound.
Input source checkboxes

The filter input source checkboxes are used to select what signal(s)
will be routed into the filter for processing. One, two, or all three
oscillators can be routed through one or both filters.
Filter 1 output can be routed to Filter 2 input, or vice-versa, for serial
filtering effects. The result is like one very steep filter, effectively adding
the slope of the two filters together. Or, use 2 different filter types in
parallel for great special effects. Figure 7.3.11. The Filter input
source checkboxes.
Filter Sliders
Refer to figure 7.3.8 for the Filter Slider descriptions.
Cutoff
The Cutoff parameter determines the frequency at which the filtering
will begin to take effect. In a lowpass filter, a higher value will result
in a brighter sound. The filter cutoff value is expressed in Hertz.
If changing this parameter value has no effect, there is probably a
modulation routing with filter cutoff as the destination. Lower the
filter cutoff modulation routing amount to make the initial cutoff value
more noticeable.
Spread
2 Pole and 4 Pole filters are simply 1 Pole filters cascaded in series,
normally with the same cutoff frequency. The Spread parameter varies
the cutoff frequencies of the cascaded filters. Increasing the Spread
value makes the filtering slope not as steep and not as smooth,
effectively introducing more “slop” in the filter for additional sonic
possibilities.
The Spread parameter is unavailable when 1 Pole or State Variable
filter types are selected.
CM Amount
Determines the amount of filter cutoff frequency modulation
(“PolyMod”) applied to the filter. This parameter is unavailable if the
CM menu is set to None. A cutoff modulation source must be selected
with the CM pull-down menu.
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Resonance
Resonance is filter feedback. It causes the filter output signal to be
routed back to the filter input. On all pass and state variable band
pass/band stop filter types, Resonance controls the filter bandwidth.
Increase the Resonance value for more filter feedback.
NOTE: Filter resonance becomes more noticeable as the Cutoff value

is lowered.
High Resonance values may cause self-oscillation, which can be useful

for chirping sounds or other special effects. When the Resonance and
Cutoff values are both very high, the oscillator(s) output level may
drop.
Resonance is not available in 1 and 2 pole low pass and high pass
filter types.
Overdrive
The Overdrive parameter is a gain stage before the filter input.
Increasing the Overdrive value adds clipping distortion to the filter
signal, resulting in an overdriven, distorted sound. Overdrive is great
for adding “bite” to a sound, which can help cut through a mix, or for
creating special effects.
Configuration Display
The Configuration Display is a graphic representation of the current
oscillator, filter, and insert effect signal path routings. It is for viewing
only; the icons and routings cannot be changed here. Use the oscillator
and filter on/off buttons and input checkboxes and insert effects
parameters to change the graphic display.
Figure 7.3.12. The

Configuration display.
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7.4 Modulation Page
Figure 7.4.1. The Modulation

The Modulation page contains all of the parameters for program page. Modulation destinations
modulations. Modulation sources, destinations, and amounts are all and amounts are set on the left,
defined on the Modulation page. and modulation source
parameters are on the right.
There are two main groups of parameters on the modulation page:
Routings and Modulators. The Routings parameters are used to define
modulation destinations and modulation amounts. The Modulators
parameters are used to define modulation sources.
For more information about synthesizer basics and modulation, see

Appendix E.
Routings Parameters
Modulation routings (figure 7.4.2) are the software “patchcords” used
to connect a modulation source to a modulation destination. To create
a modulation routing, first the source and destination is defined, then
the modulation amount is set. Modulation sources are defined by the
Modulators parameters (see figure 7.4.5).
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The number of modulation routings you can use in a program is limited
only by the CPU processing power that is available.
NOTE: For more information about CPU usage and polyphony, see
Chapter 5, Control Panel Reference.
Routings List
The Routings List displays all the
modulation routings currently
defined in a program, in the order
that they were created.
Each line item in the list indicates
how the modulation “patch” is
defined. For example, “Envelope 1
To Volume” means that Envelope
#1 is the modulator, and Volume
is the modulation destination.
To select a routing in the list, click
the routing name once. When a
routing is selected, the Source,
Destination, and Amount
parameters are visible and can be
modified. If the Source or
Destination values are changed,
the routing name is updated in the
list to reflect the new settings.
The order in which the items are
displayed has an effect on real-time
MIDI control via non-registered
parameter numbers. See Appendix
F for more information about real-
time MIDI control.
IMPORTANT! Each modulation routing requires additional processing Figure 7.4.2. The Routings
power from the CPU. Delete unused routings from the list to increase parameters. The list is in the
upper area, and the settings for
available polyphony. each routing is below.
Routing Add Button

The Add button is used to create new modulation routings. To add a
routing, click the Add button once. The newly created routing will be
automatically selected, and the source, destination, and amount
parameters can be modified as desired.
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Routing Delete Button
The Delete button is used to remove existing
modulation routings. To delete a routing,
first select the routing you want to delete
from the list by clicking on it once, then
click the Delete button to remove the item
from the list. You can use the Undo
command if you accidentally delete a
routing and need to get it back.
Routing Source Menu

The Source pull-down menu is used to select
the modulation source for a routing. To edit
the source of a routing, first click on the
routing in the Routings List to select it, then
choose a new source from the pull-down
menu. Figure 7.4.2. The Routing
Source menu. Sources are
determined by items in the
Items in the Source menu are created in the Modulators list.
Modulators section of the Modulation Page
(see figure 7.4.5). Once a Modulator is
created, that new Modulator then becomes
available as an item in the Source menu.
Some MIDI controller sources are “hard wired” and are always available
in the Source menu, even if there are no Modulators in the Modulator
list. The MIDI controllers that are always available for modulation
sources are: Note & Pitchbend, Velocity, Mono Aftertouch, Poly
Aftertouch, and Controllers A, B, C, and D.
Routing Destination Menu

The Destination pull-down menu is used to select the modulation
destination for a routing. To edit the destination of a routing, first click
on the routing in the list to select it, then choose a new destination
from the pull-down menu. Items displayed in the destination list are
determined by items in the Modulators list (figure 7.4.5).
Routing Amount Slider

The Amount slider (figure 7.4.2) is used to adjust the modulation
amount for a routing. To edit the amount of a routing, first click on the
routing in the list to select it, then modify the Amount parameter as
desired. The modulation Amount value range is +/– 100. Figure 7.4.3. The Routing
Destination menu. Destinations
are determined by items in the
Modulators list.
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The Amount value is always added to the existing value of the modulation
destination. For example, if the initial filter cutoff value on the main page is set to
50 and a modulation routing destination is set to filter cutoff with an amount of
50, the resulting filter cutoff will be 100. If the initial filter cutoff value on the
main page is set to 75 and the modulation amount is set to -50, the resulting filter
cutoff would be 25.
Therefore, for a modulation routing to have any effect, the initial value of the
modulation destination must be less than its maximum possible setting for a positive
Amount value (or more than its minimum possible setting for a negative Amount
value).
IMPORTANT! To have any effect, the modulation destination initial value must
be decreased for positive modulation amounts, or increased for negative amounts.
The total resulting parameter value (initial setting plus modulation amount) can
never exceed the maximum possible initial value for a parameter. For example, if
the initial filter cutoff value on the main page is set to 50 and a modulation routing
destination is set to filter cutoff with an amount of 75, the resulting filter cutoff
would only be 100 (not 125) because 100 is the maximum possible setting for
filter cutoff.
IMPORTANT! You can never exceed the maximum possible setting for the
destination value, regardless of the modulation Amount value.
Modulators Parameters
Modulators are used to define sources for modulation routings. Once a modulator
is defined, it becomes available in the routings Source menu for assignment to a
modulation destination, and the modulator parameters become available in the
routings Destination menu.
The Modulators parameters are used to define envelope, low frequency oscillator
(LFO), ramp, and random modulation sources and their control values. MIDI
controllers (Note & Pitchbend, Velocity, Mono Aftertouch, Poly Aftertouch,
Controllers 1 & 2) are “hard wired” modulation sources and are always available
in the Routings Source menu without being defined as Modulators.
To create a modulation routing, first the modulator type and its trigger mode are
defined, then the associated modulator parameters are adjusted. The number of
modulation routings you can use in a program is limited only by the CPU processing
power that is available.
IMPORTANT! Each modulator requires additional processing power from the

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Modulators List
The Modulators List displays
all the modulation sources
currently defined in a
program, in the order that
they were created. The order
in which the items are
displayed has no operational
relevance.
Each line item in the list
indicates a modulation
source. If the modulator is
assigned in a routing, its
destination is indicated in the
list. For example, “Filter 1
Cutoff Envelope 2” means
that Envelope #2 is defined as
a modulation source, and it
has been routed to the filter
1 cutoff parameter in the
Routings Editor. If the list says
only “Envelope 2” it means
the modulator has been
created, but it is not yet
assigned to a routing.
To select a modulator in the
list, click the modulator name
once. When a modulator is
selected, the Type/Trigger
menus and modulator
parameters are visible and
Figure 7.4.5. The Modulators
can be modified. If the Type or Trigger values are changed, the parameters. Items in the list are
modulator name is updated in the list to reflect the new settings. available as sources for
modulation routings. Each list
Modulator Add Button item is a unique modulator with
its own set of parameters. Click a
The Add button is used to create new modulation sources. To add a modulator in the list to display
its parameter values.
modulator, click the Add button once. The newly created routing will
be automatically selected. Then modify the Type, Trigger, and the
associated modulator parameters as desired.
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Modulator Delete Button
The Delete button is used to remove existing modulation sources. To
delete a modulator, first select the modulator you want to delete from
the list by clicking on it once. Then click the Delete button to remove
the item from the list. You can use the Undo command if you
accidentally delete a modulator and need to get it back.
Modulator Type Menu

The Modulator Type menu defines which type of modulation source
will be used. The available modulator types are Envelope, LFO,
Random, and Ramp.
Figure 7.4.6. The
When an item is selected in the modulator list, changing the Type modulator Type menu.
selection will update the modulator name. If the modulator is assigned
to a routing, its associated routing list item will also be updated.
The selected modulator type determines which parameters are available
for editing. Each modulator type and its associated parameters are
described in detail in this
section.
Envelope Modulator
Retro AS-1 uses standard 5-stage
envelopes (figure 7.4.8).
Envelopes can be viewed as
sliders or graphically, and values
can be displayed as Rate or
Time. The Graphical and Rate/
Time options are specified in the Editor Preferences window (figure Figure 7.4.7a. The Envelope
7.2.3). If the Rate/Time value is changed, the envelope modulator modulator parameters displayed
as sliders.
values are inverted. Each stage parameter is described in detail on the
next page.
Figure 7.4.7b. The Envelope

modulator parameters displayed
graphically.
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Figure 7.4.8. The stages of an
Envelope modulator.
Attack
The Attack parameter determines how long it takes for the envelope to reach its peak
value. The peak value is the maximum modulation Amount defined by a routing. If
the preference is set to Time, a lower value will have a faster attack. If set to Rate, a
higher value will have a faster attack.
Decay
The Decay parameter determines how long it takes for the envelope to reach the
sustain stage after completing the attack stage. If the preference is set to Time, a
lower value will have a faster decay. If set to Rate, a higher value will have a faster
decay.
Sustain Le vel
The Sustain Level determines the amount of modulation after the attack and decay
stages have completed their cycle. A lower value will have a lower modulation amount
during the sustain stage. A higher value will have a higher modulation amount during
the sustain stage.
Sustain Decay
The Sustain Decay parameter forces the normally flat sustain level to gradually go to
zero, even if the current note is not released. The Sustain Decay parameter determines
the slope of the sustain stage, or how long it takes for the sustain level to reach zero
after completing the attack and decay stages. If the preference is set to Time, a lower
value will have a faster sustain decay, and value of 100 causes the Sustain level to
remain flat with no slope. If set to Rate, a higher value will have a faster sustain
decay, and value of zero causes the Sustain level to remain flat with no slope.
Release
The Release parameter determines how long it takes for the envelope to reach a
modulation amount of zero after a note-off command is issued. If the preference is set
to Time, a lower value will have a faster release. If set to Rate, a higher value will
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Modifying Envelopes in Graphical Mode
When displayed graphically, envelope segment values can be modified by click-dragging the
segments or by entering a value in the text boxes. Envelopes are not drawn exactly to scale.
Extreme settings may display a shape that doesn’t look like it sounds.
These diagrams illustrate the graphical “hot spots” for modifying segment values. When you click
on the segment in the graphic display, the cursor changes to red arrows to remind you which
direction to drag the mouse. It is helpful to watch the text values as you drag the segments.
To edit the attack value, click on

the attack segment and drag
horizontally.
To edit the decay value, click on

the decay segment and drag
horizontally.
To edit the sustain value, click on

the sustain segment and drag
vertically.
To edit the sustain decay value,

click on the point connecting the
sustain and release segments and
drag vertically.
To edit the release value, click on

the release segment and drag
horizontally.
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LFO Modulator
LF O Type
The LFO Type parameter
determines the waveform shape
for the LFO modulator. Choose
an LFO Type by clicking once on
the waveform’s associated radio
button.
LF O Delay
The LFO Delay parameter
determines how long it takes for
the LFO modulation amount
(determined in the Routings Figure 7.4.9. The LFO
Editor) to ramp up to full value. A lower value will make the LFO take modulator parameters.
effect faster. A higher value will gradually increase the LFO effect.
LF O Speed
The LFO Speed parameter defines the frequency (speed) of the LFO.
Values are displayed in Hertz.
Random checkbox
Normally, an LFO begins from “zero,” at the beginning of its cycle
every time it is triggered. When Random is checked, the LFO does
not begin from zero, but instead from a random location in its cycle
each time it is triggered.
MIDI S ync checkbox

Figure 7.4.9b. Activating MIDI
When MIDI Sync is checked, the LFO speed will be synchronized to Sync enables the Division menu
and disables the Speed slider.
(determined by) incoming MIDI beat clock events. The Division menu
is then used to subdivide the beat if desired.
The Speed parameter is unavailable when MIDI Sync is checked.
However, if MIDI Sync is checked and no MIDI clock is being received
by the synth engine, the LFO speed is determined by the Speed slider
value.
Division menu
When MIDI Sync is active, LFO speed is determined by the incoming
MIDI clock tempo. This incoming tempo can be subdivided with the
Division menu. Figure 7.4.9c. The
Division menu.
To make an LFO faster relative to a set MIDI tempo, select a higher
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Random Modulator
The Random modulator is simply a noise generator.
Random Modulator Filter slider

The Random modulator Filter is a one-pole filter for the Random
modulator.
Ramp Modulator Figure 7.4.10. The Random

modulator parameter.
The Ramp modulator is a slope generator. It creates a linear slope that
gradually increases the value of the modulation destination from zero
to the value set by the routing Amount parameter.
Ramp Delay slider

The Delay parameter determines the time it takes before the ramp
modulation will begin.
Ramp Speed slider

The Speed parameter determines the time it takes for the ramp
modulator to go from no modulation to the modulation value set by
the routing Amount parameter.
Figure 7.4.11. The Ramp
For example, if a ramp modulator is routed to filter 1 cutoff and the modulator parameters.
initial filter 1 cutoff value is set to 50 on the main page, the ramp
Speed parameter would determine how long it takes for the cutoff
value to reach 50.
Modulator Trigger Menu

Each modulator type allows you to select the triggering method with
the Trigger menu. The Trigger menu determines how the modulator
will be implemented when multiple notes are triggered. Each Trigger
mode is described in detail below.
Multiple Figure 7.4.12. The

modulator Trigger menu.
When Multiple trigger mode is selected, every played note triggers the
modulator from the beginning of its cycle.
For example, let’s say an envelope with a very slow attack and decay
is routed to filter cutoff in multiple trigger mode. When a note is
triggered, the envelope cycle begins and the filter starts to open. When
the next note is triggered, the filter envelope starts again at “point
zero” regardless of the previous note.
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Multiple trigger mode is often used in Polyphonic mode (global page
setting) so each note will have the exact same sound.
Single
When Single trigger mode is selected, if multiple notes are played
together the modulator does not trigger at the beginning of its cycle.
Instead, the modulator continues from where it was when the first
note was played. Single mode is effectively creates a “monophonic”
modulator for polyphonic notes.
For example, let’s say an envelope with a very slow attack and decay
is routed to filter cutoff in single trigger mode. When a note is triggered
and held, the envelope cycle begins and the filter starts to open. When
another note is added to the chord, the filter is still opening, using the
envelope from the first note. Only after all held notes are released (or
the modulator completes its cycle) will the modulator begin a new
cycle when a new note is played.
Single trigger mode is often used in Legato mode (global page setting)
for a smoother transition between notes.
Pedal Down
When Pedal Down trigger mode is selected, the modulator is triggered
when the pedal (footswitch) is pressed. The MIDI pedal number that
activates the trigger is defined in the Retro AS-1 control panel.
Pedal Up
When Pedal Up trigger mode is selected, the modulator is triggered
when the pedal (footswitch) is released. The MIDI pedal number that
activates the trigger is defined in the Retro AS-1 control panel.
Key Up
When Key Up trigger mode is selected, the modulator is triggered as
the note is released. To hear any effect, the amplitude and/or filter
envelope (if any) release parameter(s) must be increased above a zero
length of time.
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7.5 Effects Page
Effects Overview
Retro AS-1 includes
four effects
processors. Two
processors are insert
(serial) effects, and
two are global
(parallel) effects. The
two insert effects are
stored into the
program itself, and
always process the
program (if enabled)
regardless of any
other settings. Global
effects settings are
saved with the
program, but their
behavior is interactive
between the Editor
and the Mixer.
How the global effects respond between Editor and Mixer settings is
determined by the Global Effects parameters in the Retro AS-1 control Figure 7.5.1. The Effects Page.
panel (see Chapter 5, figure 5.4.1). Each possible scenario is detailed

below.
Scenario 1. Global Effects Off, ‘Use From Editor’ unchecked
No global effects will be used by the synth. Settings in the Editor and
Mixer will have no effect. CPU processing requirements can be reduced
with this setting.
Global effects will be heard only when the Editor is active. The global
effects parameters on the effects page in the active Editor program
determine the settings. Settings in the Mixer will have no effect.
The current global effects settings will be used. The current settings
reflect the state of the last used Mixer settings. If a Mixer file is opened,
the global effects settings from that file become the current effects
settings. In this scenario, the Mixer is the only place where global
effect changes will be heard in real time.
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The current global effects settings from the Mixer will be used unless
the Editor is active. In this scenario, when the Editor is open the global
effects settings on the effects page of the active Editor program are
used, overriding the settings in the Mixer. When the Editor is quit, the
global effects settings revert back to the current Mixer settings.
The global effects settings on the effects page of the current program
on the specified MIDI channel will be used. Settings in the Mixer and
Editor are not used even if those applications are open. In this scenario,
global effects settings are changed whenever the program on the
specified MIDI channel is changed.
The Global Effects settings on the effects page of the current program
on the specified MIDI channel will be used unless the Editor is open.
In this scenario, when the Editor is open the global effects settings on
the effects page of the active Editor program are used, overriding the
settings on the specified MIDI channel. When the Editor is quit, the
global effects settings revert back to the current program on the specified
MIDI channel.
Effects On/Off Button On
The four effects each have its own on/off button. Each on/off button
is represented by a speaker icon. When the effect is off, the button is
blue. When it is on, the button changes to yellow. Click the button
once to toggle the on/off state of the effect. Off
Figure 7.5.2. The Effects
IMPORTANT! Effects require significant processing power from the On/Off button.
CPU. Effects should be disabled when not required to increase
available polyphony.
The Insert Effect Parameters

The insert effects are in series; the insert effect 1 output always goes
to the insert effect 2 input. Both insert effect processors are identical.
Insert Effect menu

8 different insert effect types are available. The type of insert effect
The Insert Effect menu.
that is selected from the Insert Effect menu determines which
parameters are available for editing. Each insert effect type and its
associated parameters are detailed in this section.
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Parametric EQ
The Parametric EQ insert effect is an equalizer (tone
control) for amplifying or attenuating any specific
frequency, with full control of the bandwidth.
Frequency
The Frequency parameter specifies the frequency that
will be amplified or attenuated. The range is from zero
to one-half the sample rate specified in the Retro AS-1
control panel.
Q
Figure 7.5.3. The Parametric
The Q parameter specifies the bandwidth of the equalizer. A high Q EQ parameters.
value has a narrow bandwidth, meaning only frequencies close to the
Frequency parameter value will be affected. A low Q value has a wide
bandwidth, meaning the equalizer will effect a broader frequency
spectrum. A Q value of 2 has a bandwidth of 1 octave.
Gain
The Gain parameter specifies the amount of amplification or attenuation
that will be applied to the Frequency value. A positive value for Gain
will amplify (boost) the specified frequencies. A negative value will
attenuate (cut) the specified frequencies. The Gain range is +/– 12db.
Shelf EQ
The Shelf EQ insert effect is an equalizer
for amplifying or attenuating two specific
frequencies, without control of the
bandwidth. It is essentially a two-band
parametric EQ with fixed bandwidth.
Low
The Low parameter specifies the
frequency that will be amplified or
attenuated in the low frequency section
of the two-band equalizer. The Low
frequency range is from zero to one-half
the sample rate specified in the Retro AS-
1 control panel (the low and high bands Figure 7.5.4. The Shelf EQ
are actually identical). parameters.
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Low Gain
The Low Gain parameter specifies the amount of amplification or
attenuation that will be applied to the Low frequency value. A positive
value for Gain will amplify (boost) the specified frequencies. A negative
value will attenuate (cut) the specified frequencies. The Gain range is
+/– 12db.
High
The High parameter specifies the frequency that will be amplified or
attenuated in the high frequency section of the two-band equalizer.
The High frequency range is from zero to one-half the sample rate
specified in the Retro AS-1 control panel (the low and high bands are
actually identical).
High Gain
The High Gain parameter specifies the amount of amplification or
attenuation that will be applied to the High frequency value. A positive
value for Gain will amplify (boost) the specified frequencies. A negative
value will attenuate (cut) the specified frequencies. The Gain range is
+/– 12db.
Flange
The Flange insert effect is a very
short modulated delay line with
feedback. Flange produces a thick,
swirling, hollow-sounding effect.
Delay
Amount of time in milliseconds
before the delayed signal is heard.
Feedback
Figure 7.5.5. The Flange
Amount of processed signal that is looped back to the input to be parameters.
processed again. A negative value inverts the phase of the feedback
signal.
Speed
The rate of pitch modulation expressed in Hertz (cycles per second).
Depth
The amount of pitch modulation.
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Mix
Controls the dry-to-wet ratio (balance) of the direct unprocessed signal
and the wet processed signal.
Chorus
The Chorus insert effect is a stereo
modulated delay line with
feedback. Chorus produces a
thicker, richer tone by turning one
sound into a “chorus” of sounds.
Delay
Feedback
Figure 7.5.6. The Chorus
Amount of processed signal that is looped back to the input to be parameters.
signal.
Speed
The rate of pitch modulation expressed in Hertz.
Depth
The amount of pitch modulation.
Mix
Figure 7.5.7. The Phaser
parameters.
Phaser
Phaser is a popular “retro” effect
that produces filter phase
distortions, creating a swirling,
swooshy sound.
Delay
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Amount
Amount of phase distortion.
Speed
The rate of phase modulation expressed in Hertz.
Depth
The amount of phase modulation.
Mix
Insert Delay
Delay is a two-tap delay line with
feedback and independent control
of the tap delay times. Delay
produces an “echo canyon” effect.
Delay 1
Controls the time of the first delay
tap.
Feedback 1
Amount of tap 1 delay signal that
is looped back to the input to be
processed again. A negative value
inverts the phase of the feedback Figure 7.5.8. The Insert Delay
signal. parameters.
Delay 2
Controls the time of the second delay tap.
Feedback 2
Amount of tap 2 delay signal that is looped back to the input to be
signal.
Mix
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MIDI S ync checkbox
When MIDI Sync is checked, the delay times will be synchronized to
The delay parameters are unavailable when MIDI Sync is checked.
by the synth engine, the delay times are determined by the delay slider
values.
IMPORTANT! (Mac OS only) Using MIDI Sync with OMS requires

the OMS IAC (Inter-Application Communication) Driver. See chapter
4 for details.
Division menu
When MIDI Sync is active, delay times are determined by the incoming
Division menu. The Division menus are unavailable when MIDI Sync
is not checked.
To make a delay time shorter relative to a set MIDI tempo, select a The MIDI Sync Division
menu.
higher subdivision value.
Overdrive
Overdrive produces a “soft
clipping” effect that results in a
saturated, compressed sound.
Technically, it distorts the higher-
amplitude portion of a signal.
Gain
Scales the signal before the
threshold parameter.
Threshold Figure 7.5.9. The Overdrive

Amount of signal that needs to be present before distortion is added. parameters.
A lower value will produce a more prominent effect.
Amount
Amount of Overdrive of the signal above the threshold.
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Filter
Attenuates higher frequencies. A higher value will produce a brighter
sound.
Mix
Distortion
Distortion produces a “crossover
distortion” effect that results in a biting,
distorted sound. Technically, it distorts
the lower-amplitude portion of a signal.
Threshold
Amount of signal that needs to be
present before distortion is added. A
higher value will produce a more
prominent effect.
Hysteresis Figure 7.5.10. The Distortion

parameters.
Amount of distortion below the threshold. Technically, this is the
amount that the zero-crossings of the waveform are displaced.
Tone
Attenuates higher frequencies. A higher value will produce a brighter
sound.
Mix
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The Global Effects
Global effects behavior is interactive between the Editor and Mixer
and is dependent upon the Retro AS-1 control panel settings. See the
beginning of section 7.5 for a complete explanation.
Global Effect menu

3 different global effect types are available. The type of global effect
that is selected from the Global Effect menu determines which
parameters are available for editing. Both global effects processors are
identical. Each global effect type and its associated parameters are
The Global Effect menu.
detailed in this section.
Delay
Delay is a true
stereo delay line
with feedback
and independent
control of the left
and right channel
delay times.
Delay produces
an “echo canyon”
effect.
Send
Controls the amount of dry signal that is sent to the delay for processing. Figure 7.5.11. The Global Delay
A higher value will have a more pronounced effect. parameters.
Delay 1
Controls the time of the left delay channel.
Feedback 1
Amount of delay 1 signal that is looped back to the left input to be
signal.
Delay 2
Controls the time of the right delay channel.
Feedback 2
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Filter
Attenuates higher frequencies in the delay processor. A higher value
will produce a brighter sound.
MIDI S ync checkbox

When MIDI Sync is checked, the delay times will be synchronized to
The delay parameters are unavailable when MIDI Sync is checked.
by the synth engine, the delay times are determined by the delay slider
values.
IMPORTANT! (Mac OS only) Using MIDI Sync with OMS requires

the OMS IAC (Inter-Application Communication) Driver. See chapter
4 for details.
Division menu
When MIDI Sync is active, delay times are determined by the incoming
The MIDI Sync
Division menu. Division menu.
To make a delay time shorter relative to a set MIDI tempo, select a
higher subdivision value.
Reflection
Reflection is a series
of multi-tap delay
processors that
produce a result
somewhere between
a delay line and a
reverb.
Send
Figure 7.5.12. The Reflection
Controls the amount of dry signal that is sent to the delays for parameters.
processing. A higher value will have a more pronounced effect.
Reflection Mode Radio Buttons

Choose from one of four different reflection types by clicking once on
its associated radio button.
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Sparse
Produces longer random delay times of lower density with a logarithmic
decay curve. Creates the impression of a larger ambient space.
Diffuse
Produces shorter random delay times of higher density with a
logarithmic decay curve. Creates the impression of a smaller ambient
space.
Random
Produces random density reflections with random delay times and no
decay curve. Creates the impression of an unnatural ambient space.
Reverse
Plays the reflection delays with a growing amplitude curve for special
effect.
Predelay
Amount of time before the first reflection is heard. Larger values give
the impression of a larger ambient environment.
Brightness
A high frequency attenuation filter. A higher value will result in a
brighter sound.
Length
Sets the delay times of the early reflections. Larger values give the
impression of a larger ambient environment.
Reverb
Reverbs add an
ambient quality to a
sound, giving the
impression that the
sound originates in
an acoustic
environment.
Figure 7.5.13. The Reverb

parameters.
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Send
Controls the amount of dry signal that is sent to the reverb for
processing. A higher value will have a more pronounced effect.
Reverb Mode Radio Buttons

Choose from one of four different reflection types by clicking once on
its associated radio button.
Room
Creates the impression of a small acoustical environment.
Chamber
Creates the impression of a medium-sized acoustical environment.
Small Hall
Creates the impression of a large-sized acoustical environment.
Large Hall
Creates the impression of a huge acoustical environment.
Predelay
Amount of time before the reverb signal is heard. Larger values give
the impression of a larger acoustical environment.
Brightness
A high frequency attenuation filter. A higher value will result in a
brighter reverb.
Decay
Controls the amount of time before the reverb “tail” cannot be heard.
Larger values give the impression of a larger acoustical environment.
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7.6 Global Page
Figure 7.6.1. The Global Page.

The Global page contains parameters that affect the entire program.
Refer to Figure 7.6.1 for Global parameter descriptions.
Trigger Mode
The Trigger radio buttons determines how the synthesizer will respond
to multiple incoming MIDI notes. You can select from several different
triggering modes.
Polyphonic
Polyphonic trigger mode is the standard mode for playing multiple
MIDI notes (chords) simultaneously. In Polyphonic mode, the
maximum number of simultaneous notes that will sound is determined
by the Number Of Voices parameter on the Global page, but it can
never exceed the Number Of Voices setting in the Retro AS-1 control
panel.
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Legato Last
When Legato Last is selected as the trigger mode only one note will
play at a time. The note that plays will always be the last note played,
regardless of any other held notes. This is the “classic” legato (mono)
mode.
Legato Low
When Legato Low is selected as the trigger mode only one note will
play at a time. The note that sounds will always be the lowest note
played, regardless of any other played notes. For example, if a low C is
triggered and held, any notes played above low C will not trigger.
Legato High
When Legato High is selected as the trigger mode only one note will
play at a time. The note that sounds will always be the highest note
played, regardless of any other played notes. For example, if a high C
is triggered and held, any notes played below high C will not trigger.
MIDI Channel
IMPORTANT! The MIDI Channel parameter is the only Editor

parameter that is not stored within the program file.
The MIDI Channel parameter determines which incoming MIDI channel

the program will respond to when loaded into the Editor. The MIDI
Channel setting allows multiple programs loaded in the Editor to play
on separate MIDI channels.
This feature enables real-time editing of the programs on different
MIDI channels when using the Retro AS-1 in multi-timbral mode. To
switch between open programs in the Editor, use the Windows menu.
If multiple programs open in the Editor are set to the same channel,
only the active (frontmost) program on that channel will be heard.
If multiple programs open in the Editor are set to the same channel
and a program on a different MIDI channel is the active program, the
frontmost window of the program sharing the same MIDI channel will
play.
The default MIDI Channel value for new programs is specified in the
Editor Preferences window.
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Number Of Voices
This parameter allows you to limit the number of notes in a particular
program. This can help performance on slower systems by eliminating
extraneous notes. For example, a lead program could be restricted to 1
or 2 notes if you know you will never play big chords with it. The
Number Of Voices setting in the Retro AS-1 control panel can never be
exceeded regardless of this setting.
NOTE: For more information about polyphony, see Chapter 5, Retro

AS-1 control panel Reference.
Transpose
The Transpose parameter sets the overall tuning for the entire program
in musical semitone (half-step) increments. The displayed value
indicates the transposition interval in semitones. When the Transpose
value is zero, the note pitch is determined by the oscillator Coarse and
Fine tuning parameters.
Pan
The Pan parameter determines the left/right stereo positioning of the
program. This parameter will be overridden with a change in the MIDI
controller #10 value.
Volume
This Volume parameter is the global volume setting for the entire
program. Use this parameter to set the “master” volume, or to adjust
relative volumes between program files. This parameter will be
overridden with a MIDI controller #7 change.
Relative volumes between oscillators can be set using the oscillator
volume parameter on the Main page.
Portamento
Portamento (also known as Glissando or Glide) is a classic synthesizer
effect that moves the pitch of one played note smoothly and
continuously to the pitch of the next played note, much like the human
voice. In order for portamento to be active, the “new” note must be
played before the “old” note is released.
Portamento is only active in Legato trigger mode.
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Portamento Type
Off
When Off is selected, there is no portamento effect.
Up
When Up is selected, only notes played above the previous note will
use portamento.
Down
When Down is selected, only notes played below the previous note
will use portamento.
Up & Down
When Up & Down is selected, the new note will always use portamento.
Finger ed
If Fingered is checked, portamento will only be applied if a previous
note is held down. To always use portamento, regardless of whether a
note is currently playing or not, uncheck this box.
Up Slider
The Up slider value determines the portamento time (how long a new
note takes to move to its pitch) when Up or Up & Down is selected as
the portamento type. A value of zero will have no portamento effect.
A higher value specifies a longer time.
Down Slider
The Down slider value determines the portamento time (how long a
new note takes to move to its pitch) when Down or Up & Down is
selected as the portamento type. A value of zero will have no
portamento effect. A higher value specifies a longer time.
Comment Field
A text box is provided as a place to type your notes about the program.
Up to 255 characters can be entered or pasted into the comment field.
Comments are saved in the program file.
(Mac OS only) The Retro AS-1 Program Cleaner utility (inside the
Goodies folder) will automatically generate controller routing
information and append it to the text in the comment field.
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Chapter 8: Keyboard Reference
Chapter 8 Contents
8.1 Keyboard Overview
8.2 Key Keyboard Concepts
8.3 Keyboard Menus
8.4 Keyboard Parameters
8.1 Keyboard Overview
The Retro AS-1 Keyboard application is an on-screen utility for triggering Figure 8.0. The Keyboard
Retro AS-1 sounds without a MIDI controller or any other MIDI window.
hardware or software. The Keyboard allows you to trigger a 9-octave
range of individual notes and chords, change the active voice selection,
control note velocity values, and transmit controller information.
You can open the application in two ways: by choosing Keyboard...
from the Synthesizer menu within the Editor, MIDI Processor, or Mixer
applications, or by double-clicking the Retro AS-1 Keyboard application
icon. The application was installed at the root level of the Retro AS-1
Folder.
NOTE: If you don’t hear sound output from the Keyboard, refer to
Appendix C, Troubleshooting.
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8.2 Key Keyboard Concepts
1. The Keyboard is becomes active as soon as it is launched. No other
AS-1 components need to be launched in order to play synthesizer
programs with the Keyboard.
2. To hear programs loaded in the Editor when using the Keyboard,
select Editor from the Bank and Program menus.
3. The Retro AS-1 Keyboard does not transmit to MIDI applications or
the MIDI out port(s).
4. The Retro AS-1 Keyboard does not receive MIDI data from MIDI
applications or the MIDI out port(s).
5. On Windows 95, launching Retro AS-1 Keyboard is the recommended
method for activating MIDI input because of its low RAM and CPU
requirements.
8.3 Keyboard Menus

File Menu
The File menu contains one item: Quit. Select Quit to close the Keyboard
application. Clicking the Close Box in the keyboard window will also
quit the application.
If no other applications are using the synthesizer engine (Editor, MIDI
Processor, Mixer, MIDI drivers) the synth engine will quit also.
Edit Menu
The Edit menu contains one item: Latch Mode. When Latch Mode is
enabled, notes triggered with the Keyboard will continue to play when
you release the mouse, as if you were still holding the note down. This
feature allows you to hold a note so you can switch to the Editor and
Figure 8.3.2. The Edit menu.
modify the program when you don’t have a MIDI controller connected.
A checkmark next to Latch Mode indicates the feature is active.
Synthesizer Menu
The Synthesizer menu contains several utility commands, offering
access to other key components of the Retro AS-1 package
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All Notes Off
Reset
Selecting Reset from the Synthesizer menu resets the synth engine
and forces all MIDI continuous controller values to be reset to
zero.

The Record To Disk function writes the stereo output of the
synthesizer engine to your hard drive as an audio file. Whatever the Figure 8.3.3. The Synthesizer
synthesizer is playing (notes, chords, riffs, arpeggiations, etc, on all menu.
MIDI channels, including effects) is written directly to disk. Complete
instructions for Record To Disk are in Appendix G.
Stop Record To Disk

is active.
Control Panel...

Mixer...
Mixer, for setting up multi-timbral operations. For specific information
about the Mixer, refer to Chapter 9.
Editor...
Editor application, for accessing program voicing parameters. For
specific information about the Editor application, refer to Chapter 7.
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MIDI Processor...
to Chapter 6.
8.4 Keyboard Parameters

The Graphic Keyboard
Clicking a key with the mouse sends the corresponding MIDI pitch to
the synthesizer. You will hear the active program file as displayed in
the Bank/Program menus.
Where you click on the key determines the velocity value of the note.
Clicking towards the top (“rear”) of the key transmits a lower velocity
for the note; clicking towards the bottom (“front”) of the key transmits
a higher velocity value.
You can also trigger sounds with the computer’s QWERTY keyboard
(see figure 8.4.1). The C Major scale will be triggered by the bottom
row of keys beginning with the letter Z. The “black” notes are triggered
by the second row of keys. To extend beyond the one octave range of
the qwerty notes, use the Range function.
QWERTY QWERTY
Note Note
key key
Z C G F#
S C# B G Figure 8.4.1. The computer
keyboard will trigger these MIDI
X D H G# note values.
D D# N A
C E J A#
V F M B
< C
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Channel menu
This parameter determines the MIDI channel of the Keyboard notes
transmitted to the synthesizer.
Range menu
This parameter allows you to extend the range of the Keyboard beyond
its visible 5-octaves by shifting the note values up and down in octaves.
You can shift the keys up or down +/– 2 octaves, allowing for a full
9-octave range.
Bank and Program menus

These parameters determine which program will be heard when using
the Keyboard. When changing these parameters, MIDI bank and
program change values are transmitted to the synthesizer on the MIDI
channel selected with the Channel pull-down menu.
NOTE: For information about Bank and Program organization, see

Appendix B, Working with Banks and Programs.
Bank menu
This menu determines the active bank. The sounds available in the
program menu are determined by the bank selection.
If the Editor is open the Editor bank becomes enabled, allowing you to
select the program(s) that are loaded into the Editor with the program
menu.
Program menu
This menu determines the active program. The sounds available in
the Program menu are determined by the bank selection.
To use programs that are being modified in the Editor, select Editor 1-
16 from this menu. The numbers 1-16 indicate the MIDI channel that
the program is set to in the Editor global page.
Chord menu
This parameter activates the Chord function. When a Chord is selected Figure 8.4.2. The Chord menu.
from the pull-down menu, more than one note will be triggered when
a key is clicked on the on-screen or computer keyboards. Many chord
voicings are available. The notes of the chord will highlight on the
keyboard when played.
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NOTE: If the active program is in Legato (monophonic) mode, the
Chord function will have no effect. Legato mode is set on the Editor
global page.
Controller A, B, C, D sliders
These sliders transmit MIDI continuous controller information to the
synthesizer. The controller numbers used are determined by the
Controller preferences specified in the Retro AS-1 Control Panel.
NOTE: For information about controller assignments, see Chapter

5, Control Panel Reference.
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Chapter 9: Mixer Reference
Chapter 9. Mixer Reference
Chapter 9 Contents
9.1 Mixer Overview
9.2 Key Mixer Concepts
9.3 Mixer Menus
9.4 Channel Strips
9.5 Master Section
9.1 Mixer Overview Figure 9.0. The Mixer window.
The Retro AS-1 Mixer application is a software “audio console” used

to define the Bank and Program Selection, Volume, Pan, Mute, Solo,
and Global Effect settings of the Retro AS-1 synthesizer on each of the
16 MIDI channels during multi-timbral operation.
Mixer settings can be saved to disk as a file; Mixer files contain complete
settings for a unique multi-timbral setup. This “snapshot automation”
makes it very fast and easy to recall settings for a particular MIDI
song, for example.
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Each time a Mixer file is opened, it searches the Retro AS-1 folder to
load the banks and programs used by the file. It will still find the
correct banks and programs even if the bank/program hierarchy has
been modified. If the bank and/or program can’t be found (if it no
longer resides in the Retro AS-1 Programs folder), question marks will
be displayed instead of the bank/program name and no sound will
play on that MIDI channel until a new program is selected.
The Mixer constantly queries the synth engine and the display is
updated to reflect the current synthesizer settings for bank, program,
volume, pan, and global send information. For example, if you use
controller 7 to change the MIDI volume from within your sequencer
application, the volume slider for that channel in the Mixer will be
updated to reflect the new volume setting.
Because the Mixer is always asking the synth what the current settings
are, it requires CPU processing even if it is just idle in the background,
unlike the other Retro AS-1 applications. Since many sequencers and
other MIDI applications have there own methods of transmitting
volume, pan, and other controller information, you may find it more
CPU efficient to use those features instead of the Mixer.
Using the Mixer with the Editor

The Retro AS-1 Editor can be open and active at the same time as the
Mixer; you can modify programs with the Editor while the multi-timbral
settings are being modified by the Mixer. To hear programs that are
currently loaded in the Editor while using the Mixer, select Editor
from the Bank and Program pull-down menus when the Editor is open.
The voice being modified by the Editor is determined by the MIDI
channel specified on the Editor Global page.
Global Effects with the Mixer

Global Effects parameters can be edited from within the Mixer
and saved with a Mixer file. The next time that Mixer file is
opened, the current Global Effects settings will be updated to
the stored settings. If Global Effects are modified in the Mixer
and the active file is closed, the current settings stay in RAM
and remain current until a different Mixer file is opened. When
the synth engine is closed, the current Global Effects settings
are written to a Preference file to be used when the synth is reactivated. Figure . Global Effects settings in
the Retro AS-1 control panel.
These parameters determine the
Global Effects behavior is interactive between the Mixer and Editor. behavior of the Global Effects
How the Global Effects respond is defined by the Retro AS-1 Control processors in the Mixer.
Panel settings. Each possible scenario is detailed on the next page.
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Scenario 1. Global Effects Off, ‘Use From Editor’ unchecked
No global effects will be used by the synth. Settings in the Editor and
Mixer will have no effect. CPU processing requirements can be reduced
with this setting.
Global effects will be heard only when the Editor is active. The global
effects parameters on the effects page in the active Editor program
determine the settings. Settings in the Mixer will have no effect.
The current global effects settings will be used. The current settings
reflect the state of the last used Mixer settings. If a Mixer file is opened,
the global effects settings from that file become the current effects
settings. In this scenario, the Mixer is the only place where global
effect changes will be heard in real time.
The current global effects settings from the Mixer will be used unless
the Editor is active. In this scenario, when the Editor is open the global
effects settings on the effects page of the active Editor program are
used, overriding the settings in the Mixer. When the Editor is quit, the
global effects settings revert back to the current Mixer settings.
The global effects settings on the effects page of the current program
on the specified MIDI channel will be used. Settings in the Mixer and
Editor are not used even if those applications are open. In this scenario,
global effects settings are changed whenever the program on the
specified MIDI channel is changed.
The Global Effects settings on the effects page of the current program
on the specified MIDI channel will be used unless the Editor is open.
In this scenario, when the Editor is open the global effects settings on
the effects page of the active Editor program are used, overriding the
settings on the specified MIDI channel. When the Editor is quit, the
global effects settings revert back to the current program on the specified
MIDI channel.
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9.2 Key Mixer Concepts
1. The Mixer communicates only with the synth engine. It does not
transmit or receive MIDI data to/from other MIDI sources.
2. Global Effects can be modified within the Mixer only when the
effects mode is set to ‘Fixed’ in the Retro AS-1 control panel.
3. To hear programs loaded in the Editor when using the Mixer, select
Editor from the Bank and Program menus in the Mixer.
4. The Mixer parameters reflect the current MIDI state of the synthesizer,
even if changes are made from an external source. Because this feature
requires CPU processing even in the background, quit the Mixer when
CPU resources are limited.
9.3 Mixer Menus

File Menu
The File menu contains commands for controlling management tasks
such as loading and saving files.
New
The New command creates a new, untitled mix. Use the New command
when you want to create a new mix from scratch.
Open...
The Open command loads a previously saved Mixer file from disk,
using the Mac OS standard Open file dialog box. You can also open a
saved file by double-clicking its icon in the Mac OS Finder.
Close
The Close command closes the active Mixer document. Alternately,
you can click the close box at the left of the window title bar. If the file
has been modified since it was opened, you will be asked if you want
to save the changes. If you don’t want to overwrite the existing disk
file, choose the Save As... command instead.
Save
The Save command writes the active Mixer file to disk, overwriting
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Save As...
document window title will change to the new name after saving.
Quit
The Quit command closes the Retro AS-1 Mixer application. If any
Mixer files that are open have been modified since saving, you will be
asked if you want to save those modifications.
Edit Menu
Global Effect 1...
Choosing Global Effect 1 opens the parameter window (figures
9.5.3, 9.5.4, and 9.5.5) for global effect processor 1. This is the
same as pressing the Edit button in the Returns area of the Mixer
window (see figure 9.5.1).
Figure 9.3.2. The Edit menu.
Global Effect 2...
Choosing Global Effect 2 opens the parameter window (figures 9.5.3,
9.5.4, and 9.5.5) for global effect processor 2. This is the same as
pressing the Edit button in the Returns area of the Mixer window (see
figure 9.5.1).
NOTE: For an explanation of each specific effect parameter, refer to

Figure 9.3.3. The Preferences
Chapter 7, Editor Reference, section 7.5. window.
Preferences...
Choosing Preferences opens the Mixer
Preferences window, for specifying general
options within the Mixer. Select the
preferred options by clicking its associated
radio button or checkbox. The settings are
retained until they are modified.
NOTE: See section 9.1 of this chapter for

more information about global effects
behavior.
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Use default settings
All MIDI channels will be initialized to default values when the Mixer
is launched. Volume and global effect sends will be set to maximum,
and Pan will be set to center on all MIDI channels, regardless of current
synth engine settings.
Use current synth settings

When the Mixer is launched, the synth engine is queried and current
synth settings for each MIDI channel are used.
Warn about missing banks and programs

If a Mixer file is opened and a bank or program used by the file is no
longer installed in the Retro AS-1 Programs folder, the Mixer will display
a warning dialog if this option is checked.
Warn about effect editing control

Global Effects can be modified in the Mixer only when the Retro AS-1
control panel effect setting is set to ‘Fixed.’ When this option is checked,
if the control panel is not set to Fixed, a reminder dialog will appear.
Synthesizer Menu
The Synthesizer menu contains several utility commands, offering
access to other key components of the Retro AS-1 package
All Notes Off

Reset
Selecting Reset from the Synthesizer menu resets the synth engine
and forces all MIDI continuous controller values to be reset to
zero. Figure 9.3.4. The Synthesizer
menu.
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Stop Record To Disk
is active.
Control Panel...

Keyboard...
Keyboard, for triggering sounds without a MIDI controller. For specific
information about the Mixer, refer to Chapter 8.
Editor...
Editor application, for accessing program voicing parameters. For
specific information about the Editor application, refer to Chapter 7.
MIDI Processor...
to Chapter 6.
9.4 Channel Strips

The Mixer contains 16 channel strips; each strip controls the parameters
for a different MIDI channel. 10 channel strips are visible at a time. To
view the rest of the strips, use the standard scroll bars at the bottom of
the Mixer window. Because each of the 16 strips is identical, their
parameters are described only once.
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Bank and Program menus
These parameters determine which program will be heard on the MIDI
channel. When changing these parameters, MIDI bank and program
change values are transmitted to the synthesizer on the MIDI channel
of the strip.
NOTE: For information about Bank and Program organization, see

Appendix B, Working with Banks and Programs.
Bank menu
This menu determines the active bank for the MIDI channel. The sounds
available in the program menu are determined by the bank selection.
If the Editor is open the Editor bank becomes enabled, allowing you to
select the program(s) that are loaded into the Editor with the program
menu.
Program menu
This menu determines the active program for the MIDI channel. The
sounds available in the Program menu are determined by the bank
selection.
To hear programs that are being modified in the Editor, select Editor 1-
16 from this menu. The numbers 1-16 indicate the MIDI channel that
the program is set to on the Editor global page.
Global Slider 1
Determines the send level to global effect processor 1 for the MIDI
channel. For this parameter to have any effect, the FX button must be
on for the channel, the global 1 effect master on/off button must be
on, and the global 1 return value must be increased above zero.
Global Slider 2
Determines the send level to global effects processor 2 for the MIDI
channel. For this parameter to have any effect, the FX button must be
on for the channel, the global 2 effect master on/off button must be
on, and the global 2 return value must be increased above zero.
Figure 9.4.1. The Mixer Channel
Strip. Each strip contains the
NOTE: See section 9.1 of this chapter for more information about controls for a different MIDI
global effects behavior. channel.
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Pan Slider
Determines the left/right stereo positioning for the MIDI channel. A
value of 64 will center the sound in the stereo field.
Volume Slider
Determines the output level for the MIDI channel. Volume settings in
the Mixer attenuate volumes set in the program by the Editor on the
global page. This is not a gain stage.
Mute Button
Turns off the output of the MIDI channel so no sound is heard. The
channel is muted when the button is green.
Solo Button
Mutes all channels whose Solo function is not active. Useful for
auditioning a single MIDI channel during multi-timbral operation. The
channel is in solo mode when the button is green.
FX Button
Activates global effect processing for the MIDI channel. For this
parameter to have any effect, the global effect master on/off button
must be on and the send and return level(s) must be increased above
zero. The channel effects are ‘on’ when the button is green.
Level Meter
Gives a visual indication when a sound is playing on the MIDI channel
and what the relative volume of the signal is.
9.5 Master Section

Global Effects Controls
The Global Effects setting in the Retro AS-1 control panel must be set
to ‘Fixed’ to modify the global effects from within the Mixer.
See section 9.1 of this chapter for more information about global
effects behavior.
Because Global Effects 1 and 2 are identical, their controls are detailed
only once.
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NOTE: For an explanation of each specific effect parameter, refer to
Chapter 7, Editor Reference, section 7.5.
Effect Type menu

Determines the type of effect for the Global processor. The available
choices are Delay, Reflections, and Reverb.
Edit Effect button

Opens the parameter windows (figures 9.5.3-5) for the Global Effects
processor. Choosing Global Effect... from the Edit menu performs the
same function.
Master FX On/Off button

Enables the effect processor. The effect is ‘on’ when the button is
green.
Effect Amount Slider

Determines the return level for the global effect processor. For this
parameter to have any effect, the Channel and Master FX button must
be ‘on’ and the global send for a given MIDI channel must be increased
above zero.
Global Level Meter

Gives a visual indication of the effects level for the global effect
processor.
Master Volume Sliders

Determines the overall output level of the synthesizer. The left and
right channels of the stereo output can be adjusted independently.
Master Level Meters

Gives a visual indication of the stereo output level of the synthesizer. Figure 9.5.1. The Master section.
Figure 9.5.2. The Global Effect

Type menu.
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Figure 9.5.3. The global Delay
parameters window.
NOTE: For an explanation of each

specific parameter, refer to section
7.5 in chapter 7, Editor Reference.
Figure 9.5.3. The global

Reflections parameters window.
Figure 9.5.3. The global Reverb

parameters window.
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Appendix A: Working with Banks and Programs
Program Overview
Retro AS-1 programs are created and modified in the Retro AS-1 Editor
application. Each program is a separate file document and contains all
the voicing parameters for a single sound. Programs that reside inside
the Retro AS-1 Programs folder can be selected from within the Retro
AS-1 MIDI Processor, Keyboard, and Mixer applications or with MIDI
bank and program change commands.
Bank Overview
Retro AS-1 programs are grouped into banks. A bank is a collection of
programs. Banks allow you to arrange related programs together for
quick access when selecting voices with MIDI bank and program change
commands or from within the Retro AS-1 MIDI Processor, Keyboard,
and Mixer applications.
Because the bank and program groupings are completely user-
programmable, you can choose whatever grouping method best suits
your working style. For example, you could put your bass sounds in
one bank, your lead sounds in another bank, and so forth. Or, you
could group all the programs for a particular song into a bank.
Hierarchy Overview
Programs are arranged into banks in the Finder (Mac OS) or My
Computer/Windows Explorer (Windows 95). Arranging programs into
banks is a simple process. The alphabetical order of the programs and
bank folders within the Retro AS-1 Programs folder determines the
bank and program hierarchy. So, to create custom banks, simply create
the desired folder hierarchy within the Retro AS-1 Programs folder.
Give the folders the bank names you want to use, then put the program
files you want in the bank into those folders. That’s it!
NOTE: The 128 programs at the root level of the Retro AS-1
Programs folder are exact duplicates of the ‘Best of Retro AS-1’
bank. You may find it useful to delete these programs at the root
level. You can then replace them with your favorite factory or custom
programs, so they will be grouped in the same bank and accessed
easily without bank change commands.
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Mac OS Specifics
The Retro AS-1 Programs folder is placed inside
Retro AS-1 Folder by the Retro AS-1 Installer.
Program files that are not inside the Retro AS-1
Programs folder can reside anywhere; they can be
opened, heard, and modified from within the Editor.
However, they will not be recognized by the Retro
AS-1 MIDI Processor, Keyboard, and Mixer
applications or with MIDI bank and program
change commands.
Because banks and programs are arranged
alphabetically, you will find it easier to work with
the bank and program hierarchy if you view the
Retro AS-1 Programs folder by name. To view the
folder by name, open the Retro AS-1 Programs folder
window, then select ‘by Name’ (System 7) or ‘as
List’ (OS 8) from the View menu in the Finder.
Here’s a “power tip” to quickly view the entire folder
hierarchy: Select all folders in the window
(Command + A), then press Command + Option
+ Right Arrow to open the entire hierarchy of a
folder. Press Command + Option + Left Arrow to
collapse the view.
Retro AS-1 fully supports the file and folder alias
feature of the Mac OS. You can use aliases for any
program file or bank folder. You can have aliases
point to programs or banks inside the Retro AS-1
Programs folder, or you can do the opposite by
having aliases inside the Retro AS-1 Programs folder
point to programs or banks that reside elsewhere.
IMPORTANT! To allow the MIDI Processor,

Keyboard, Mixer, and MIDI Bank/Program change
commands to select banks and programs, an alias
to the Retro AS-1 Programs folder (or the actual
folder itself) with the exact name ‘Retro AS-1
Programs’ must reside at the root level of the active
System Folder. An alias to the Retro AS-1 Programs
folder was placed at the root level of the active Figure A1. The Retro AS-1
System Folder during installation. If the alias is moved Programs folder in Mac OS. The
or renamed there will be no sound output from bank and program hierarchy is
the synthesizer unless using the Editor. arranged by alphabetical order.
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Windows 95 Specifics
The Retro AS-1 Programs folder is
placed at the root level of the
Windows directory by the Retro AS-
1 Installer. The name of this special
folder is RetroAS1. Program files
that are not inside the Retro AS-1
Programs folder can reside
anywhere; they can be opened,
heard, and modified from within
the Editor. However, they will not
be recognized by the Retro AS-1
MIDI Processor, Keyboard, and
Mixer applications or with MIDI
bank and program change
commands.
Because banks and programs are
arranged alphabetically, you will
find it easier to work with the bank
and program hierarchy if you view
the Retro AS-1 Programs folder by
name. To view the folder by name,
navigate to the Retro AS-1
Programs folder window using My
Computer or Windows Explorer.
Then click Name column to sort the
list by name. If you are currently
viewing by icon, click the list icon
first.
IMPORTANT! Only programs in the Retro AS-1 Programs folder are

recognized by the MIDI Processor, Keyboard, Mixer, and MIDI Bank/
Figure A1. The Retro AS-1
Program change commands. The Retro AS-1 Programs folder with Programs folder in Windows 95.
the exact name ‘RetroAS1’ must reside at the root level of the active The bank and program hierarchy
Windows directory. If the folder is moved or renamed there will be is arranged by alphabetical order.
no sound output from the synthesizer unless using the Editor.
Selecting banks and programs via MIDI

The numbering scheme for MIDI program change commands is the
alphabetical order of the programs within a bank. The first alphabetical
program in a bank is MIDI program number 0, the second program is
MIDI program 1, and so forth.
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Programs at the root level of the Retro AS-1 Programs folder (not in a
bank subfolder) are considered to be in MIDI bank number 0. The
first bank subfolder (in alphabetical order) is MIDI bank number 1,
the second bank subfolder is MIDI bank 2, and so forth.
Although there are only 128 MIDI program changes available (0-127),
by arranging programs into banks you can access more than 128
programs using MIDI bank change commands. Up to 16,384 banks
are supported, allowing selection of 2,097,152 (!!!) different programs
via MIDI.
When creating your bank/program hierarchy, each bank folder should
have no more than 128 program files contained within it. Following
this constraint allows all the programs within the bank to be selected
with MIDI bank and program change commands.
The required MIDI commands
To select programs via MIDI
Send a MIDI program change value between 0 and 127. If no bank
change command is sent before the program change command,
programs within bank 0 will be selected.
To select banks via MIDI
For bank numbers 0 through 127, send controller 0 with a value of 0,
then controller 32 with a value between 0 and 127, with zero being
the root level, 1 being the first bank subfolder, and so forth. Follow the
bank change command with a program change command.
NOTE: We refer to the first program in a bank as MIDI program

number 0 and the first bank as MIDI bank number 0 because these
are the actual MIDI commands used. Many controllers use a
numbering scheme of 1-128 but they are actually transmitting “zero
based” commands.
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Appendix B: Optimizing Performance
Optimizing Overview
Because there is no dedicated hardware to perform certain tasks, the
computer's CPU must handle all synth routines. Therefore, the available
polyphony is dependent upon CPU type, clock and bus speed, voice
complexity, and other applications that may be running simultaneously.
CPU processing resources can be reserved or limited in the Retro AS-
1 control panel, and polyphony can be restricted for use on slower
systems.
Depending upon the speed of your computer, your polyphony
requirements, and other MIDI applications you may be running, the
synthesizer system parameters may need to be “tweaked” to optimize
performance. The Retro AS-1 control panel Configuration parameters
are the primary settings that affect Retro AS-1 performance.
The main cause of CPU overload occurs when too many notes are
played. When the CPU is overloaded, the sound output will stutter or
cut out altogether. To eliminate this problem the Number of Voices,
Maximum CPU %, Sample Rate, and Buffer Length settings must be
optimized for use with your particular environment. These settings
are all interdependent and experimentation is sometimes required to
find the “sweet spot” that works best in your environment.
Performance Variables
There are several parameters within Retro AS-1 and the computer that
will affect CPU performance and polyphony.
NOTE: Chapter 5 contains detailed descriptions of all the Retro AS-

1 control panel parameters.
Retro AS-1 Variables

• Retro AS-1 Control Panel Maximum CPU %: Increase the value
to increase polyphony. How high you can go depends on your
CPU speed and other applications you are running concurrently.
If you are using Retro AS-1 “stand-alone” without other
applications, you can crank it up to 60%. You can’t go to 100%
because the operating software needs some CPU also.
• Retro AS-1 Control Panel Sample Rate: Decrease the value to
increase polyphony. Sometimes you don’t need or want the
crisp highs that a higher sample rate provides. 22050Hz is
perfectly adequate for many applications. You can go down to
8000Hz.
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IMPORTANT! (Mac OS only) Make sure the sample rate set in the
Retro AS-1 control panel matches the Sound Manager setting.
Otherwise, additional processing will be required by the Sound
Manager for sample rate conversions.
• Retro AS-1 Control Panel Buffer Length: Increase the value to

increase polyphony. This parameter can affect the note-on to
sound-out response time (latency). If you are not playing the
synth “live” (for example, you are using a sequencer and the
notes are already input), you could increase this value.
IMPORTANT! The Sample Rate and Buffer Length settings affect

not only the frequency response and latency, but also the resolution
of the voicing parameters. Changing the Sample Rate and Buffer
Length settings can affect the sound of a program. For best results,
voice your programs with the same Sample Rate/Buffer Length
settings that you intend to use them with.
• Retro AS-1 Editor Programs: Turn off unnecessary parameters
to increase polyphony. Oscillators, filters, modulation routings,
and effects all require CPU processing. Always disable unused
oscillators, filters, and effects in a program. Delete modulation
routings and modulators if they are not necessary for the sound.
Set the FM & CM menus to None if the FM/CM Amount is
zero.
Mac OS Variables
There are several factors within the Macintosh operating system that
require CPU processing and may affect performance as well.
• Virtual Memory: Virtual Memory and similar memory allocation
utilities usually degrades performance in many applications,
and can cripple Retro AS-1. We strongly recommend you turn
off VM in the Memory control panel and reboot. The synth
engine itself requires about 6mb of available system RAM to
launch.
• AppleTalk: Turn off AppleTalk in the Chooser unless you need
to be actively on a network. The ‘Warn about AppleTalk’
checkbox in the Retro AS-1 control panel is useful as a reminder
when AppleTalk is on.
• Control Panels and Extensions: Many system components use
background CPU processing. Disable unnecessary Control
Panels and Extensions using the Extensions Manager control
panel or 3rd party utility and reboot. The only absolutely
required extensions for Retro AS-1 in system 7.6.1 or higher is
Shared Library Manager and Shared Library Manager PPC.
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• Retro AS-1/Sound Manager sample rate conflict: Additional CPU
processing is required by the Sound Manager for sample rate
conversions if the Sound Manager setting doesn’t match the
Retro AS-1 setting. Chapter 2 explains how to set the Sound
Manager sample rate.
• Hardware: Buy a faster computer. Ya, easy for us to say...
Windows 95 Variables
There are several factors within the Windows 95 operating system
that require CPU processing and may affect performance as well.
• System extensions: Many system components (such as system
monitors) use background CPU processing. Tiny icons at the
right end of the Taskbar sometimes represent active system-
level items. Disable unnecessary system extensions and reboot.
• Microsoft PLUS! for Windows 95: This system add-on for
Windows 95 WILL degrade Retro AS-1 performance, including
inducing noise, clicks, and pops. We strongly recommend de-
installing Microsoft PLUS! if using Retro AS-1.
• Hardware: Buy a faster computer. Ya, easy for us to say...
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Appendix C: Troubleshooting
Sound Problems
Symptom: No sound output.
Cause: Monitoring system problem.
Fix: Check connections and monitor system volume.
Cause: Sound Manager output level muted or set to zero.
Fix: Increase the Sound Out level in the Sound or Monitors and Sound control panel. See chapter
2 for details.
Cause: Synth engine can’t load sound programs.
Fix: Place the Retro AS-1 Programs folder or its alias with exact name ‘Retro AS-1 Programs’ at
root level of System Folder, or reinstall factory sounds with the Retro AS-1 Installer.
Cause: MIDI Input problem.
Fix: Check MIDI connections and controller settings. Verify Port menu setting within the Retro AS-
1 MIDI Input applications. Very synth engine is functioning by using the Retro AS-1 Keyboard
application.
Symptom: Poor sound quality.
Cause: The Sample Rate setting in the Retro AS-1 control panel is set too low.
Fix: Increase the Sample Rate setting. See Chapter 5 for details.
Cause: The Buffer Length setting in the Retro AS-1 control panel is set too high.
Fix: Decrease the Buffer Length setting. See Chapter 5 for details.
Cause: The Sample Rate setting in the Sound Manager control panel is set too low.
Fix: Increase the Sound Manager sample rate setting. See Chapter 2 for details.
Cause: The Sound Out level in the Sound or Monitors and Sound control panel is not set to
maximum.
Fix: Increase the Sound Manager output level. See Chapter 2 for details.
Cause: Poor quality monitoring system.
Fix: Use good quality headphones or amplifier/speaker combination.
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Symptom: Sound output is choppy, stutters, and/or cuts out.
Cause: CPU is overloaded by requesting too many notes.
Fix: Play less notes and/or modify the configuration settings in the Retro AS-1 control
panel. See Chapter 5 for details.
MIDI & Input Problems

Symptom: ‘Port is in use by another application’ window when launching the
Serial/OMS/FreeMIDI Input applications.
Cause: It’s really true...
Fix: Select a different serial port or quit the application(s) using the requested port.
Sometimes it’s not obvious what is using the port. Fax and modem software, AppleTalk,
OMS, and FreeMIDI are the most common culprits. Often, merely turning off the software
is not enough to release the port(s); you may need to disable its associated extensions
and reboot. Disabling AppleTalk does not release the printer port; you need to “unload”
AppleTalk by rebooting the system after it is disabled.
Symptom: ‘This Macintosh does not have the hardware required to support the
Serial DMA driver’ window when launching Retro AS-1 Serial Input.
Cause: The Serial (Built-in) library file is not in your Extensions folder.
Fix: This is the Mac OS Serial DMA support file. Install/enable the file and reboot.
Cause: Your Mac OS system does support direct memory access to the serial port(s).
Fix: Use OMS or FreeMIDI in conjunction with Retro AS-1 OMS/FreeMIDI Input and
Retro AS-1 OMS/FreeMIDI Drivers. See Chapter 4 for more information.
Symptom: Poor “live play” response time (latency).
Cause: Virtual Memory is on.
Fix: Turn of Virtual Memory in the Memory control panel and reboot.
Cause: Buffer Length setting is too high.
Fix: Decrease the Buffer Length setting. See Chapter 5 for details.
Symptom: Can’t select Retro AS-1 as destination in OMS/FreeMIDI applica-
tions.
Cause: The Retro AS-1 OMS/FreeMIDI Drivers have not been configured.
Fix: Configure the Retro AS-1 MIDI Drivers using the instructions in Chapter 4.
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Symptom: Double note triggers; flanged/chorused sound with effects off.
Cause: The Retro AS-1 OMS or Retro AS-1 FreeMIDI Input applications are open at the
same time as an OMS/FreeMIDI application.
Fix: Retro AS-1 OMS/FreeMIDI Input are used ONLY when OMS/FreeMIDI applications
are NOT open. Quit the MIDI application(s) or use the MIDI application’s “Play Through”
feature to trigger the synth instead.
Polyphony Problems
Symptom: Suddenly performance is poorer than previously experienced.
Cause: Another application is hogging the CPU.
Fix: Increase the CPU % setting in the Retro AS-1 control panel and restart the synth.
See Chapter 5 for more information.
Symptom: MIDI applications are sluggish (poor timing, slow screen redraws,
etc.) when Retro AS-1 is active.
Cause: Retro AS-1 is hogging the CPU.
Fix: Decrease the CPU % setting in the Retro AS-1 control panel and restart the synth.
See Chapter 5 for more information.
Symptom: There is simply not enough polyphony.
Cause: Retro AS-1 is complex, CPU-hungry software.
Fix: Optimize system configuration settings and program voicing parameters. See
Appendix B for more information.
Retro AS-1 Application Problems

Symptom: ‘Can’t connect to synthesizer’ when launching Retro AS-1 applica-
tions.
Cause: Not enough available RAM. There must be enough free RAM for Retro AS-1
application(s) and the synthesizer engine. The synth engine itself requires approximately
6 MB RAM.
Fix: Quit unused applications and/or reduce system size by eliminating unnecessary
components. If it appears you have plenty of memory available, your RAM may be
fragmented. Reboot to defragment RAM.
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Symptom: Changing a parameter in the Editor has no effect.
Cause: The parameter is being controlled by a modulator.
Fix: Decrease the modulation routing amount for the destination. Here’s an example. If
the filter 1 cutoff parameter on the main page has no effect, go to the modulation page.
A modulation routing probably has Filter 1 cutoff as a destination. Select the routing in
the list then lower the value of the modulation Amount slider.
Symptom: The Global Effects don’t sound or behave erratically.
Cause: The Global Effects settings in the Retro AS-1 control panel aren’t configured the
way you want.
Fix: Change the Global Effects setting in the control panel. See Chapter 5 for details.
Symptom: Can’t control a modulation routing “initial amount” when using a
continuous controller assigned to that modulator’s destination amount.
Cause: A continuous controller’s range is between zero and the destination amount.
Fix: Add another modulation routing.
Symptom: Can’t hear sounds being modified in the Editor when using the MIDI
Processor, Keyboard or Mixer.
Cause: The Processor, Keyboard and Mixer load sounds from disk but the Editor sound
is in RAM.
Fix: Select Editor from the Bank and Program pull down menus in the Retro AS-1
applications.
Symptom: MIDI program change commands select the wrong sounds when the
MIDI Processor is active.
Cause: When the MIDI Processor is active, program change commands select Setups
instead of programs.
Fix: Quit the MIDI Processor or disable the “MIDI Program Change Selects Setup” option
in the MIDI Processor Preferences window.
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Appendix D: Using Direct IO
Appendix D: Using Digidesign Direct IO
This appendix applies to the Mac OS only. It explains how Retro AS-1
works with Digidesign’s Direct IO v2.1 software interface.
Overview
Direct IO is Digidesign’s software interface that allows third-party
developers (such as BitHeadz) to develop drivers for accessing
Digidesign audio hardware. Retro AS-1 output is normally sent to a
disk file or the Sound Manager, where it is processed to match the
Sound/Monitors and Sound control panels settings then sent to the
audio outputs. Using the Direct IO settings in the Retro AS-1 control
panel, the Sound Manager can be bypassed altogether if a Digidesign
audio card is installed.
Note: any digital audio card can be used for Retro AS-1 output if
the card is supplied with a Sound Manager driver.
One advantage of using Direct IO is separate Retro AS-1 MIDI channels

can be routed to individual audio outputs!
Components Required for Direct IO support

1. Digidesign PCI digital audio card (Nubus is not supported)
2. Digisystem INIT extension version 3.3 or higher
3. Retro AS-1 version 1.11 or higher
Figure D1. After selecting Direct
IO in the Retro AS-1 control
Configuring Retro AS-1 for use with Direct IO panel, the Direct IO parameters
appear.
1. Verify the Digidesign hardware is
working correctly before configuring
Retro AS-1. Consult the documentation
that came with the hardware.
2. Open the Retro AS-1 control panel.
3. Select Direct IO from the Audio Output
pull-down menu.
The Direct IO menu and Setup button appear.
If Direct IO is grey and unavailable for
selection, v erify the audio card and
Digisystem Init version 3.3 or higher are
properly installed.
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4. Click the Direct IO Setup...
button.
The Digidesign Hardware Setup
dialog appears.
5. Confirm your hardware
settings (modify if necessary),
then click Done.
6. Select Stereo or Individual
mode from the Direct IO
menu.
See details in the ne xt section.
7. Close the Retro AS-1 control
panel, saving the new
settings.
Figure D3. The Direct IO
Retro AS-1 is now configured to bypass the Sound Manager and Hardware Setup window.
use the Digidesign hardware for output instead.
How It Works
Retro AS-1 has two modes of operation when used with Direct IO:
Stereo and Individual. The mode used is determined by the Direct IO
Stereo/Individual menu in the Retro AS-1 control panel. Each mode is
described below.
Stereo Mode
When Stereo mode is selected, the Retro AS-1 stereo output is sent to
all stereo pairs, including digital outputs, simultaneously. On
Audiomedia III cards, the analog and digital outputs carry the same
signal. On 8-channel audio interfaces, outputs 1+2, 3+4, 5+6, 7+8,
and the digital outs act as stereo pairs. They all carry the same signal.
Figure D4. When Individual
Using stereo mode maintains the ability to use MIDI Pan commands mode selected, each MIDI
per MIDI channel and the stereo Global Effects processors. channel is routed to a separate
audio output.
Individual Mode
When Individual mode is selected, Retro AS-1
MIDI channels are "hard wired" to the
corresponding Digidesign audio outputs. For
example, if you have an 8-channel audio
interface, Retro AS-1 MIDI channel 1 output is
sent to audio output 1; MIDI channel 2 is sent to
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When using Individual mode with an Audiomedia III card, the analog
outputs correspond to MIDI channels 1 and 2; the digital outputs
correspond to MIDI channels 3 and 4.
When using Individual mode with an 8-channel audio interface, the
analog outputs correspond to MIDI channels 1 through 8; the AES/
EBU digital outputs also correspond to MIDI channels 1 through 8. If
you have an 882 or similar audio interface that has only 2 channels of
SP/DIF digital output, MIDI channels 1+2 are sent to the digital output.
When using individual mode, only MIDI channels 1-8 are supported.
Channels 9-16 will have no output. Additionally, the stereo Global
Effects processors cannot be heard in individual mode. This is due to
architectural limitations. When in individual mode, we recommend
disabling the Global Effects processors in the Retro AS-1 control panel
to conserve CPU processing.
Another Important Note

“Live play” response time (latency) may actually be greater when using
Direct IO. This is because the note-on to sound-out latency is partially
determined by the buffer length, which is (in simple terms) how often
Retro AS-1 sound is passed to the output. The buffer length is variable
in the Sound Manager, and the Buffer Length setting in the Retro AS-
1 control panel can be set to as little as 32, meaning that the synth
output is passed to the Sound Manager every 32 samples (smaller
buffer length = less latency). However, Digidesign has a locked buffer
length value in Direct IO that is fixed at 512 samples. As of this writing,
Digisystem Init version 3.4 is in testing. Version 3.4 has a buffer length
of 256, effectively halving the latency. Check Digidesign’s web site at
www.digidesign.com for the latest versions of their software.
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Appendix D: Analog Synthesis Demystified
Appendix E: Analog Synthesis Demystified
This appendix explains some analog synthesis basics. It is intended for people just
getting started with synthesizers and electronic music.
Concepts
The humble beginnings of analog synthesis began with huge systems consisting of
dozens of various components. Each component “module” performed a different
electronic function (such as oscillator, filter, amplifier, etc.) and had a signal input and
output (“I/O”) jack. Using dozens of individual signal cables, the synthesist would
manually connect (“patch”) multiple modules together then tweak the module settings
to produce a particular audio result. Thus modular analog synthesis was born. To this
day, a modern synthesizer program is still referred to as a patch.
While the quality and variety of sounds these systems could produce was truly mind-
boggling, they were not embraced by the typical musician because they were expensive,
non-portable, and it was difficult to coax a usable sound out of them without an advanced
knowledge of audio acoustics theory.
Then Bob Moog realized that if he selected the most common modules, “hard wired”
the most common signal routings, and put it all in a rugged, portable enclosure with a
voltage controller that acted like a piano keyboard, musicians would be able to bring
electronic music to the masses. Thus the MiniMoog was born.
These early machines all relied on a process called subtractive synthesis. Since those
times, synthesis has evolved to include many types of sound creation and manipulation
including additive, frequency modulation (“FM”), sample playback (“wavetable”),
physical modeling, granular, various combinations thereof, and more.
Subtractive synthesis came to be known as “analog” synthesis because the signals in
the modules used analog (as opposed to digital) electrical components. Retro AS-1 uses
analog synthesis as its model for sound creation. The following sections provide some
details about this process.
The Building Blocks

Explanation of signal flow in the subtractive synthesis model is more easily digested if
broken down into explanations of the basic modular components.
Oscillators
The primary building block of analog synthesis is the oscillator. An oscillator is the only
part of the process that actually generates a sound. The purpose of all the other modules
is to modify the signal from the oscillator.
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Retro AS-1 produces five primary waveforms shapes: sawtooth, pulse, triangle, sine,
and noise. However, an extremely wide range of waveform shape variations can be
generated. The Symmetry control modifies the basic shape. By modulating an oscillator
with itself or another oscillator using Sync (forcing a waveform to begin its cycle
prematurely) and FM emulation (modulating the frequency of a waveform with a different
frequency), more complex shapes can be generated. Each waveform has its own sound
due to its unique harmonic overtone structure.
Retro AS-1 allows up to three oscillators to be used per program. Each can have its own
shape, modulation(s), filter routings, etc.
Filters
Filters are a major building block in synthesis, and arguably affect the sound quality
more than any other process. Filters work by removing (subtracting) harmonic content
from a waveform, resulting in a different shape and therefore a different sound. This is
how subtractive synthesis got its name.
There are lots of different filter types, and each creates a different tone (“timbre“).
Although the filter types behave differently, they all share two characteristics called the
filter cutoff frequency and slope.
Slope determines how “steep” a filter is, or in other words, how much harmonic content
is removed in relation to the cutoff frequency. The cutoff frequency is the point in the
frequency spectrum where filtering begins to take affect. In a lowpass filter, frequencies
above the cutoff frequency are “rolled off” at a rate determined by the slope. A higher
cutoff frequency will provide a brighter sound because higher frequencies are allowed
to pass. The terms 1 Pole, 2 Pole, and 4 Pole are referring to different filter slopes.
Some filter types have resonance, where the filter output is routed back to the filter
input. This changes the shape of the frequency response curve, and therefore the resulting
waveform output. Resonance is what enables the whistling, chirpy quality common in
so many analog programs.
Retro AS-1 provides seven filter types to enable a wide range of sonic possibilities. Up to
two filters can be used per program. One, two, or all three oscillators can be routed
through one or both filters. Each filter can accept input from the other filter, allowing for
serial or parallel filtering effects. This can effectively double the available filter slope,
for up to 48 decibels (db) per octave of filter roll-off. Our filters can be overdriven for
distortion, and be made to self-oscillate with resonance. And all filter controls are available
as a modulation destination for dynamic timbre changes over time. You will find many
new ways to create rich new textures with the Retro AS-1 filters.
Modulation
Modulation is the “juice” of creative sound design in synthesis. Modulation is what
makes a static, unchanging sound come to life by modifying the timbre and amplitude
(volume) of a sound dynamically over time or with MIDI performance controls such as
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Modulation begins with a modulation source. A modulation source can be a low frequency
oscillator (“LFO”), contour control (“envelope”), MIDI controllers such as velocity, mod
wheel, aftertouch, and breath control, or even another parameter’s output such as an
oscillator or filter.
After choosing a modulation source, a modulation destination is selected. A modulation
destination can be almost any other parameter, such as volume, filter cutoff, oscillator
pitch, or whatever. This process completes the modulation routing (“patch”) that connects
the source to the destination.
The modulation routing will not have any effect until the modulation amount is set. The
modulation amount determines just how much modulation will take place. For example:
In a routing with LFO to pitch, a small modulation amount produces a bit of vibrato
with a range close to the original pitch. A large modulation amount produces wild pitch
sweeps that could range over an octave or more.
Modulation Amount Interaction

Modulation amounts are a bit more complicated (or flexible, depending on your
perspective!). How a modulation amount responds depends upon the initial parameter
setting. The modulation amount value is in most cases summed (added) to the existing
value of the modulation destination.
Here is an example. In Retro AS-1, let’s say the filter 1 cutoff value on the Editor main
page is set to 50 (this is known as the “initial amount”). If a modulation routing destination
is set to filter 1 cutoff with a modulation amount of 50, the resulting filter cutoff would
be 100 (initial amount of 50 + destination amount of 50 = 100). If the initial filter
cutoff amount on the main page is set to 75 and the modulation amount is set to -50, the
resulting filter cutoff would be 25 (75–50=25). Therefore, for a modulation routing to
have any effect, the initial amount of the modulation destination (in this example the
filter 1 cutoff value on the main page) must be less than its maximum possible setting
(100) for a positive modulation amount value. Conversely, the initial amount of the
modulation destination must be more than its minimum possible setting (0) for a negative
modulation amount value.
The total resulting parameter value (initial amount plus modulation amount) can never
exceed the maximum possible initial amount for a parameter. For example, if the initial
filter 1 cutoff amount on the main page is set to 50 and a modulation routing destination
is set to filter 1 cutoff with an amount of 75, the resulting filter 1 cutoff value would only
be 100 (not 125) because 100 is the maximum possible setting for filter 1 cutoff.
Modulation Recapitulation
To make modulation happen there must be:
1. A modulation source.
2. A modulation destination.
3. A modulation amount.
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The modulation rules:
1. The initial amount of the modulation destination must be less than its maximum
possible setting for a positive modulation amount, or more than its minimum possible
setting for a negative modulation amount.
2. The total parameter amount (initial amount plus modulation amount) can never
exceed the maximum possible initial amount for the parameter.
In Retro AS-1, we call modulation sources Modulators, and they are created and modified
in the Modulators section on the right hand side of the Editor modulation page.
Modulation destinations and amounts are set in the Routings section on the left hand
side of the Editor modulation page.
Retro AS-1 allows extremely powerful and flexible modulations. You can have one
modulator go to multiple destinations, one destination can have multiple modulators,
and a modulator can modulate another modulators’ amount. The number of modulators
and routings is limited only by CPU processing capability.
Effects
Effects processing can have a profound result on a sound, often becoming critical to the
character of the program. In the early years, effects were limited to signal routing and
filtering tricks. With today’s fancy computers, complex equalizers and time-based effects
such as delay and reverb have become the norm.
Retro AS-1 features four effects processors. The two monophonic insert processors are
placed in series (one after the other) after the filter but before the output. Each program
can have two different serial effects active, and if the synth is used multi-timbrally
(different programs on different MIDI channels concurrently), each program maintains
its own settings.
The two Global processors are placed in parallel at the stereo mixer. If the synth is used
multi-timbrally, the parallel effects process all the programs on different MIDI channels
with the same effect settings. This is how effects processors are typically used with a
mixing console. In Retro AS-1, the global effects processors are true stereo, with stereo
inputs and outputs.
Output
Finally, the synthesizer signals output signals are summed by a mixer and sent to the
output. In Retro AS-1, the stereo output is routed to the Sound Manager, Direct IO (Mac
OS only), or a disk file.
The Sound Manager is the component of the Mac OS that controls the audio output
hardware. The Sound Manager delivers the digital signal to the digital-to-analog converters
(“DAC”) then to the audio output jack, where you connect your audio inputs such as
headphones or a stereo system.
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Direct IO is a software “middleman” system made by Digidesign (a manufacturer of
digital audio hardware and software) that allows third-party software companies (such
as BitHeadz) to communicate with Digidesign hardware. With a Digidesign digital audio
card and Direct IO, the Sound Manager is bypassed altogether, and the higher-fidelity
analog and digital outputs of the audio card are used instead.
Using Record To Disk, the synthesizer output goes straight to a disk file in the Audio
Interchange File Format, which can then be used for audio CD’s or loaded into digital
audio and multimedia applications for additional processing without ever being converted
to the analog domain.
Hang In There!
Synthesis is complex and can be complicated at first. However, the reward of mastering
the fundamental concepts is the ability to create a desired sound by knowing what
controls to tweak instead of just trial and error. You can learn a lot by experimentation
and examining the settings of the factory programs.
A synthesizer is unique for its ability to manifest sounds that can create a powerful
mood with just one note. We hope Retro AS-1 will help you define your own sonic
signature!
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Appendix F: MIDI Implementation
I. The Official MIDI Implementation Chart
Product Name: Retro AS-1 by BitHeadz, Inc. Version 1.10 Date: 6/12/98
FUNCTION TRANSMITTED RECOGNIZED REMARKS
Default X 1-16 Always in Mode 3
Basic Channel
Changed X 1-16 (Omni Off, Poly)
Default X Mode 3
Mode Messages X X
Altered N/A X
X 0-127
Note Number
True Voice N/A 0-127
Note On X O
Velocity
Note Off X X
Key's (poly) X O
Aftertouch
Channel (mono) X O
Pitch Bend X O
Control Change X O Full listing in this section
X O MIDI Bank Change
Program Change
True Number N/A 0-127 Commands are supported
System Exclusive X O Full listing in this section
Song Position X X
System Common Song Select X X
Tune Request X X
Delay FX, LFO, &
Clock X O
System Realtime arppegiator times can
Commands X X
sync to MIDI Clock
Local On/Off X X
All Notes Off X O Also All Sound Off,
Aux Messages
Active Sensing X X Controller 120
System Reset X O
O=Yes BitHeadz SysEx Full control of all voicing
X=No ID Number: parameters via MIDI Non-
Notes:
N/A=Not 278 (Decimal) Registered Parameter
Applicable 0120 (Hex) Numbers ("NRPN's")
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II. Supported MIDI Control Numbers
Advanced MIDI knowledge is not required to use the MIDI Controller implementation; this is a
“decimal situation.” There are no fancy tricks here, just basic controller commands that are
implemented in most modern MIDI controllers and software.
Example MIDI Control commands

• First, send the controller number of the parameter you want to change.
• Second, send the controller value. That’s it!
Two Real-World Examples

Change Master Volume
• Send controller number 7 with value of 0-127. Done!
Change Oscillator 1 Volume

• Send controller number 70 with value of 0-127. Done!
The MIDI Controllers

Value Parameter
0 bank select high 85 open sound in Editor Assignable Pedal
6 data entry high 91 effects 1 depth 64 sustain pedal
7 volume 92 effects 2 depth 65 portamento on/off
10 pan 96 data increment 66 sostenuto
16 Controller A 97 data decrement 67 soft pedal
17 Controller B 98 non-registered parameter lsb 68 legato footswitch
18 Controller C 99 non-registered parameter msb 69 hold 2
19 Controller D 120 all sound off
20 mute 121 reset controllers
21 solo 123 all notes off
32 bank select low
38 data entry low Assignable Controllers A/B/C/D
64 sustain pedal 1 modulation wheel
70 osc 1 volume 2 breath control
71 osc 2 volume 4 foot con trol
72 osc 3 volume 11 expression controller
73 filter 1 cutoff
74 filter 1 resonance
75 filter 2 cutoff
N OT E S :
76 filter 2 resonance 1. Assignments for Controllers A/B/C/D and Pedal
77 envelope 1 attack are set in the Retro AS-1 control panel.
78 envelope 1 dec ay 2. For Pedal controller numbers 64 through 69, a
79 envelope 1 release value of 0-64 = off. A value of 65-127 = on.
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III. System Exclusive Commands
Master Volume ($F0 $7F $00 $04 $01 $VL $VH $F7)
Master Balance ($F0 $7F $00 $04 $02 $VL $VH $F7) VL = Value Low (lsb)
Master Global 1 ($F0 $00 $01 $20 $00 $00 $00 $VL $VH $F7) VH = Value High (msb)
Master Global 2 ($F0 $00 $01 $20 $00 $00 $01 $VL $VH $F7)
Master Left ($F0 $00 $01 $20 $00 $01 $00 $VL $VH $F7)
Master Right ($F0 $00 $01 $20 $00 $01 $01 $VL $VH $f7)
IV. Non-Registered Parameter Numbers (“NRPNs”)

This is the serious “low level” MIDI section. If you can understand and implement NRPNs,
consider yourself graduated with Honors from DSEMH, the Distinquished School of Electronic
Music Hacks!
We chose to implement extensive MIDI control with NRPNs as opposed to MIDI System Exclu-
sive because NRPN commands are MIDI channel-specific. Using NRPNs enable you to control
the programs on each separate MIDI channel simultaneously.
Notes about NRPN control

• Parameter number selections are divided into two 7-bit controller values, msb and lsb.
NRPN Controller 99 value is the PARAMETER NUMBER MSB.
NRPN Controller 98 value is the PARAMETER NUMBER LSB.
• Parameter value selections are divided into two 7-bit controller values, msb and lsb.
NRPN Controller 06 value is the PARAMETER VALUE MSB.
NRPN Controller 38 value is the PARAMETER VALUE LSB.
• On/Off parameters are controlled as value 0 ($00 $00)= Off,and value 1 ($00 $01)= On
Examples: Oscillator and Filter On/Off buttons.
• Pop-up menus and radio buttons with more than one value are controlled as value 0 ($00
$00) = 0, value 1($00 $01) = 1, and so forth.
Examples: Waveform shapes, filter types, modulator types, etc.
• Slider values can be positive, or positive and negative in the case of modulation routing
amounts.
Positive slider values range from 0 ($00 $00) to 100 ($7F $7F).
Bipolar slider values range from -100 ($00 $00) to100 ($7F $7F); a zero value is ($40 $00).
($40)=64 decimal
NOTE: User interface values range from -100 to 100. The synth engine internally uses floating
point values from –1.0 to +1.0
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NRPNs, continued
Example MIDI Byte Command Strings

4 MIDI command strings of 3 bytes each are required.
First, send the “parameter number” hex commands:
($B0 $63 $PH) Controller 99 (nrpn msb), then parameter number msb
($B0 $62 $PL) Controller 98 (nrpn lsb), then parameter number lsb
Then, send the “parameter value” hex commands:
($B0 $06 $VH) Controller 6 (data slider msb), then parameter value msb
($B0 $26 $VL) Controller 38 (data slider lsb), then parameter value lsb
Some definitions
hex = hexadecimal
PH = parameter high (msb) in hex
VH = value high (msb) in hex
PL = parameter low (lsb) in hex
VL = value low (lsb) in hex
($B0 $63) = controller 99 (nrpn msb) in hex
($B0 $62) = controller 98(nrpn lsb) in hex
($B0 $06) = controller 6 (data slider msb) in hex
($B0 $26) = controller 38 (data lsb) in hex
msb = most significant bit
lsb = least significant bit
($B0 $63 $00) = standard hex nomenclature for 3 bytes (Leave out $ in the actual byte trans-
mission)
Some “Real-World” NRPN Examples
SET FILTER 1 RESONANCE TO 50

In Hex:
($B0 $63 $00) Controller 99 (nrpn msb), then Filter 1 Resonance msb (from Table 1)
($B0 $62 $2C) Controller 98 (nrpn lsb), then Filter 1 Resonance lsb (from Table 1)
($B0 $06 $40) Controller 6 (data slider msb), then msb of value 64
($B0 $26 $00) Controller 38 (data slider lsb), then lsb of value 0
In decimal:
First, send controller 99, value=0 (the nrpn msb from Table 1)
Next, send controller 98, value=44 (the nrpn lsb from Table 1)
Next, send controller 6, value=64 (the value msb)
Next, send controller 38, value=0 (the value lsb)
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CHANGE OSCILLATOR THREE WAVEFORM TO PULSE
In Hex:
($B0 $63 $00) Controller 99 (nrpn msb), then Oscillator 3 Type msb from Table 1
($B0 $62 $19) Controller 98 (nrpn lsb), then Oscillator 3 Type lsb from Table 1
($B0 $06 $00) Controller 6 (data slider msb), then msb of value 2 from Table 2
($B0 $26 $02) Controller 38 (data slider lsb), then lsb of value 2 from Table 2
In decimal:
First, send controller 99, value=0 (the nrpn msb) from Table 1
Next, send controller 98, value=25 (the nrpn lsb) from Table 1
Next, send controller 6, value=0 (the value from Table 2 msb)
Next, send controller 38, value=2 (the value from Table 2 lsb)
CHANGE MODULATION ROUTING #4 AMOUNT TO -75

In Hex:
($B0 $63 $18) Controller 99 (nrpn msb), then Routing Amount msb from Table 13
($B0 $62 $3C) Controller 98 (nrpn lsb), then Routing Amount lsb from Table 1
($B0 $06 $10) Controller 6 (data slider msb), then msb of value -75
($B0 $26 $00) Controller 38 (data slider lsb), then lsb of value -75
In decimal:
First, send controller 99, value=24 (the nrpn msb) from Table 13
Next, send controller 98, value=60 (the nrpn lsb) from Table 1
Next, send controller 6, value=16 (the value msb)
Next, send controller 38, value=0 (the value lsb)
The NRPN Tables

The NRPN reference tables begin on the next page. The first column is the parameter number
or value in decimal. The second column (in parenthesis) contains the msb and lsb of the pa-
rameter or value in decimal. The third column (in paranthesis, with dollar sign) contains the
msb and lsb parameter or value number in hexadecimal. The fourth column is the name of the
parameter or value.
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TABLE 1 43 (000 043) ($00 $2B) Filter 1 CM Amount
44 (000 044) ($00 $2C) Filter 1 Resonance
PARAMETER NUMBER VALUES 45 (000 045) ($00 $2D) Filter 1 Overdrive
-
00 (000 000) ($00 $00) None 46 (000 046) ($00 $2E) Filter 2 Enable, 0=off, 1=on
- 47 (000 047) ($00 $2F) Filter 2 Type, value from Table 4
[OSCILLATORS] 48 (000 048) ($00 $30) Filter 2 CM Source, value from Table 3
01 (000 001) ($00 $01) Osc 1 Enable, 0=off, 1=on 49 (000 049) ($00 $31) Filter 2 Input Osc 1, 0=off, 1=on
02 (000 002) ($00 $02) Osc 1 Keyboard Track, 0=off, 1=on 50 (000 050) ($00 $32) Filter 2 Input Osc 2, 0=off, 1=on
03 (000 003) ($00 $03) Osc 1 Type, value from Table 2 51 (000 051) ($00 $33) Filter 2 Input Osc 3, 0=off, 1=on
04 (000 004) ($00 $04) Osc 1 Sync Source, value from Table 3 52 (000 052) ($00 $34) Filter 2 Input Filter 1, 0=off, 1=on
05 (000 005) ($00 $05) Osc 1 FM Source, value from Table 3 53 (000 053) ($00 $35) Filter 2 Cutoff
06 (000 006) ($00 $06) Osc 1 Coarse Tune 54 (000 054) ($00 $36) Filter 2 Spread
07 (000 007) ($00 $07) Osc 1 Fine Tune 55 (000 055) ($00 $37) Filter 2 CM Amount
08 (000 008) ($00 $08) Osc 1 Random 56 (000 056) ($00 $38) Filter 2 Resonance
09 (000 009) ($00 $09) Osc 1 Symmetry 57 (000 057) ($00 $39) Filter 2 Overdrive
10 (000 010) ($00 $0A) Osc 1 FM Amount -
11 (000 011) ($00 $0B) Osc 1 Volume [ROUTINGS]
- 58 (XXX 058)($XX $3A)Routing Source,
12 (000 012) ($00 $0C) Osc 2 Enable, 0=off, 1=on XX = index from Table 13, value from Table 14
13 (000 013) ($00 $0D) Osc 2 Keyboard Track, 0=off, 1=on 59 (XXX 059)($XX $3B) Routing Destination,
14 (000 014) ($00 $0E) Osc 2 Type, value from Table 2 XX = index from Table 13, value from Table 15
15 (000 015) ($00 $0F) Osc 2 Sync Source, value from Table 3 60 (XXX 060)($XX $3C)Routing Amount,
16 (000 016) ($00 $10) Osc 2 FM Source, value from Table 3 XX = index from Table 13, value -100 to 100
17 (000 017) ($00 $11) Osc 2 Coarse Tune
18 (000 018) ($00 $12) Osc 2 Fine Tune [MODULATORS]
19 (000 019) ($00 $13) Osc 2 Random 61 (XXX 061) ($XX $3D)Modulator Trigger,
20 (000 020) ($00 $14) Osc 2 Symmetry XX = index from Table 13, value from Table 5
21 (000 021) ($00 $15) Osc 2 FM Amount -
22 (000 022) ($00 $16) Osc 2 Volume 62 (XXX 062)($XX $3E) Envelope Attack,
- XX = index from Table 13
23 (000 023) ($00 $17) Osc 3 Enable, 0=off, 1=on 63 (XXX 063)($XX $3F) Envelope Decay,
24 (000 024) ($00 $18) Osc 3 Keyboard Track, 0=off, 1=on XX = index from Table 13
25 (000 025) ($00 $19) Osc 3 Type, value from Table 2 64 (XXX 064)($XX $40) Envelope Sustain Level,
26 (000 026) ($00 $1A) Osc 3 Sync Source, value from Table 3 XX = index from Table 13
27 (000 027) ($00 $1B) Osc 3 FM Source, value from Table 3 65 (XXX 065)($XX $41) Envelope Sustain Decay,
28 (000 028) ($00 $1C) Osc 3 Coarse Tune XX = index from Table 13
29 (000 029) ($00 $1D) Osc 3 Fine Tune 66 (XXX 066)($XX $42) Envelope Release,
30 (000 030) ($00 $1E) Osc 3 Random XX = index from Table 13
31 (000 031) ($00 $1F) Osc 3 Symmetry -
32 (000 032) ($00 $20) Osc 3 FM Amount 67 (XXX 067)($XX $43) LFO Type,
33 (000 033) ($00 $21) Osc 3 Volume XX = index from Table 13, value from Table 6
68 (XXX 068)($XX $44) LFO Random,
[FILTERS] XX = index from Table 13
Note: Depending on Filter Type selection, some parameters will 69 (XXX 069)($XX $45) LFO Delay, XX = index from Table 13
not be active. 70 (XXX 070) ($XX $46) LFO Speed, XX = index from Table 13
71 (XXX 071) ($XX $47) LFO Sync, XX = index from Table 13
34 (000 034) ($00 $22) Filter 1 Enable, 0=off, 1=on 72 (XXX 072) ($XX $48) LFO Division,
35 (000 035) ($00 $23) Filter 1 Type, value from Table 4 XX = index from Table 13, value from Table 16
36 (000 036) ($00 $24) Filter 1 CM Source, value from Table 3 -
37 (000 037) ($00 $25) Filter 1 Input Osc 1, 0=off, 1=on 73 (XXX 073) ($XX $49) Random Filter,
38 (000 038) ($00 $26) Filter 1 Input Osc 2, 0=off, 1=on XX = index from Table 13
39 (000 039) ($00 $27) Filter 1 Input Osc 3, 0=off, 1=on -
40 (000 040) ($00 $28) Filter 1 Input Filter 2, 0=off, 1=on 74 (XXX 074) ($XX $4A)Ramp Delay,
41 (000 041) ($00 $29) Filter 1 Cutoff XX = index from Table 13
42 (000 042) ($00 $2A) Filter 1 Spread 75 (XXX 075) ($XX $4B) Ramp Speed,
XX = index from Table 13
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[INSERT EFFECTS] 118 (000 118) ($00 $76) Parametric EQ 2 Q
76 (000 076) ($00 $4C) Insert 1 Enable, 0=off, 1=on 119 (000 119) ($00 $77) Parametric EQ 2 Gain
- -
77 (000 077) ($00 $4D) Parametric EQ 1 Frequency 120 (000 120) ($00 $78) Shelf EQ 2 Low Frequency
78 (000 078) ($00 $4E) Parametric EQ 1 Q 121 (000 121) ($00 $79) Shelf EQ 2 Low Gain
79 (000 079) ($00 $4F) Parametric EQ 1 Gain 122 (000 122) ($00 $7A) Shelf EQ 2 High Frequency
- 123 (000 123) ($00 $7B) Shelf EQ 2 High Gain
80 (000 080) ($00 $50) Shelf EQ 1 Low Frequency -
81 (000 081) ($00 $51) Shelf EQ 1 Low Gain 124 (000 124) ($00 $7C) Flange 2 Delay
82 (000 082) ($00 $52) Shelf EQ 1 High Frequency 125 (000 125) ($00 $7D) Flange 2 Feedback
83 (000 083) ($00 $53) Shelf EQ 1 High Gain 126 (000 126) ($00 $7E) Flange 2 Speed
- 127 (000 127) ($00 $7F) Flange 2 Depth
84 (000 084) ($00 $54) Flange 1 Delay 128 (001 000) ($01 $00) Flange 2 Mix
85 (000 085) ($00 $55) Flange 1 Feedback -
86 (000 086) ($00 $56) Flange 1 Speed 129 (001 001) ($01 $01) Chorus 2 Delay
87 (000 087) ($00 $57) Flange 1 Depth 130 (001 002) ($01 $02) Chorus 2 Feedback
88 (000 088) ($00 $58) Flange 1 Mix 131 (001 003) ($01 $03) Chorus 2 Speed
- 132 (001 004) ($01 $04) Chorus 2 Depth
89 (000 089) ($00 $59) Chorus 1 Delay 133 (001 005) ($01 $05) Chorus 2 Mix
90 (000 090) ($00 $5A) Chorus 1 Feedback -
91 (000 091) ($00 $5B) Chorus 1 Speed 134 (001 006) ($01 $06) Phaser 2 Delay
92 (000 092) ($00 $5C) Chorus 1 Depth 135 (001 007) ($01 $07) Phaser 2 Amount
93 (000 093) ($00 $5D) Chorus 1 Mix 136 (001 008) ($01 $08) Phaser 2 Speed
- 137 (001 009) ($01 $09) Phaser 2 Depth
94 (000 094) ($00 $5E) Phaser 1 Delay 138 (001 010) ($01 $0A) Phaser 2 Mix
95 (000 095) ($00 $5F) Phaser 1 Amount -
96 (000 096) ($00 $60) Phaser 1 Speed 139 (001 011) ($01 $0B) Insert Delay 2 Delay 1
97 (000 097) ($00 $61) Phaser 1 Depth 140 (001 012) ($01 $0C) Insert Delay 2 Division 1,
98 (000 098) ($00 $62) Phaser 1 Mix value from Table 16
- 141 (001 013) ($01 $0D) Insert Delay 2 Feedback 1
99 (000 099) ($00 $63) Insert Delay 1 Delay 1 142 (001 014) ($01 $0E) Insert Delay 2 Delay 2
100 (000 100) ($00 $64) Insert Delay 1 Division 1, 143 (001 015) ($01 $0F) Insert Delay 2 Division 2,
value from Table 16 value from Table 16
101 (000 101) ($00 $65) Insert Delay 1 Feedback 1 144 (001 016) ($01 $10) Insert Delay 2 Feedback 2
102 (000 102) ($00 $66) Insert Delay 1 Delay 2 145 (001 017) ($01 $11) Insert Delay 2 Mix
103 (000 103) ($00 $67) Insert Delay 1 Division 2, 146 (001 018) ($01 $12) Insert Delay 2 MIDI Sync,
value from Table 16 0=off, 1=on
104 (000 104) ($00 $68) Insert Delay 1 Feedback 2 -
105 (000 105) ($00 $69) Insert Delay 1 Mix 147 (001 019) ($01 $13) Overdrive 2 Gain
106 (000 106) ($00 $6A) Insert Delay 1 MIDI Sync, 148 (001 020) ($01 $14) Overdrive 2 Threshold
0=off, 1=on 149 (001 021) ($01 $15) Overdrive 2 Amount
- 150 (001 022) ($01 $16) Overdrive 2 Filter
107 (000 107) ($00 $6B) Overdrive 1 Gain 151 (001 023) ($01 $17) Overdrive 2 Mix
108 (000 108) ($00 $6C) Overdrive 1 Threshold -
109 (000 109) ($00 $6D) Overdrive 1 Amount 152 (001 024) ($01 $18) Distortion 2 Threshold
110 (000 110) ($00 $6E) Overdrive 1 Filter 153 (001 025) ($01 $19) Distortion 2 Hysterisis
111 (000 111) ($00 $6F) Overdrive 1 Mix 154 (001 026) ($01 $1A) Distortion 2 Tone
- 155 (001 027) ($01 $1B) Distortion 2 Mix
112 (000 112) ($00 $70) Distortion 1 Threshold -
113 (000 113) ($00 $71) Distortion 1 Hysterisis [GLOBAL EFFECTS]
114 (000 114) ($00 $72) Distortion 1 Tone 156 (001 028) ($01 $1C) Global 1 Enable, 0=off, 1=on
115 (000 115) ($00 $73) Distortion 1 Mix 157 (001 029) ($01 $1D) Global 1 Send
- -
116 (000 116) ($00 $74) Insert 2 Enable, 0=off, 1=on 158 (001 030) ($01 $1E) Global Delay 1 Delay 1
- 159 (001 031) ($01 $1F) Global Delay 1 Division 1
117 (000 117) ($00 $75) Parametric EQ 2 Frequency 160 (001 032) ($01 $20) Global Delay 1 Feedback 1
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161 (001 033) ($01 $21) Global Delay 1 Delay 2
162 (001 034) ($01 $22) Global Delay 1 Division 2
163 (001 035) ($01 $23) Global Delay 1 Feedback 2
TABLE 2
164 (001 036) ($01 $24) Global Delay 1 Filter Waveform menu values
165 (001 037) ($01 $25) Global Delay 1 MIDI Sync, 0 (000 000) ($00 $00) Sawtooth
0=off, 1=on 1 (000 001) ($00 $01) Triangle
- 2 (000 002) ($00 $02) Pulse
166 (001 038) ($01 $26) Reflection 1 Type, value from Table 7 3 (000 003) ($00 $03) Sine
167 (001 039) ($01 $27) Reflection 1 Predelay 4 (000 004) ($00 $04) Sine Squared
168 (001 040) ($01 $28) Reflection 1 Brightness 5 (000 005) ($00 $05) Glottal
169 (001 041) ($01 $29) Reflection 1 Length 6 (000 006) ($00 $06) White Noise
- 7 (000 007) ($00 $07) Pink Noise
170 (001 042) ($01 $2A) Reverb 1 Type, value from Table 8 8 (000 008) ($00 $08) Red Noise
171 (001 043) ($01 $2B) Reverb 1 Predelay
172 (001 044) ($01 $2C) Reverb 1 Brightness
173 (001 045) ($01 $2D) Reverb 1 Decay
- TABLE 3
174 (001 046) ($01 $2E) Global 2 Enabled, 0=off, 1=on
175 (001 047) ($01 $2F) Global 2 Send
Sync, FM, & CM menu values
- 0 (000 000) ($00 $00) None
176 (001 048) ($01 $30) Global Delay 2 Delay 1 1 (000 001) ($00 $01) Osc 1
177 (001 049) ($01 $31) Global Delay 2 Division 1 2 (000 002) ($00 $02) Osc 2
178 (001 050) ($01 $32) Global Delay 2 Feedback 1 3 (000 003) ($00 $03) Osc 3
179 (001 051) ($01 $33) Global Delay 2 Delay 2 4 (000 004) ($00 $04) Filter 1 In
180 (001 052) ($01 $34) Global Delay 2 Division 2 5 (000 005) ($00 $05) Filter 1 Out
181 (001 053) ($01 $35) Global Delay 2 Feedback 2 6 (000 006) ($00 $06) Filter 2 In
182 (001 054) ($01 $36) Global Delay 2 Filter 7 (000 007) ($00 $07) Filter 2 Out
183 (001 055) ($01 $37) Global Delay 2 MIDI Sync,
0=off, 1=on
-
184 (001 056) ($01 $38) Reflection 2 Type, value from Table 7 TABLE 4
185 (001 057) ($01 $39) Reflection 2 Predelay Filter Type menu values
186 (001 058) ($01 $3A) Reflection 2 Brightness
0 (000 000) ($00 $00) 1 Pole LP
187 (001 059) ($01 $3B) Reflection 2 Length
1 (000 001) ($00 $01) 2 Pole LP
-
2 (000 002) ($00 $02) 4 Pole LP Resonant
188 (001 060) ($01 $3C) Reverb 2 Type, value from Table 8
3 (000 003) ($00 $03) 1 Pole HP
189 (001 061) ($01 $3D) Reverb 2 Predelay
4 (000 004) ($00 $04) 2 Pole HP
190 (001 062) ($01 $3E) Reverb 2 Brightness
5 (000 005) ($00 $05) 4 Pole HP Resonant
191 (001 063) ($01 $3F) Reverb 2 Decay
6 (000 006) ($00 $06) 1 Pole AP Resonant
-
7 (000 007) ($00 $07) 2 Pole AP Resonant
[GLOBALS]
8 (000 008) ($00 $08) 4 Pole AP Resonant
192 (001 064) ($01 $40) Voice Trigger, value from Table 9
9 (000 009) ($00 $09) State Variable LP
193 (001 065) ($01 $41) Number Of Voices,
10 (000 010) ($00 $0A) State Variable BP
value from Table 10
11 (000 011) ($00 $0B) State Variable BS
194 (001 066) ($01 $42) Pitchbend Range
12 (000 012) ($00 $0C) State Variable HP
195 (001 067) ($01 $43) Transpose, value from Table 11
196 (001 068) ($01 $44) Pan
197 (001 069) ($01 $45) Volume
198 (001 070) ($01 $46) Portamento Type, value from Table 12 TABLE 5
199 (001 071) ($01 $47) Portamento Fingered, 0=off, 1=on
200 (001 072) ($01 $48) Portamento Up Trigger menu values
201 (001 073) ($01 $49) Portamento Down 0 (000 000) ($00 $00) Multiple
1 (000 001) ($00 $01) Single
2 (000 002) ($00 $02) Pedal Down
3 (000 003) ($00 $03) Pedal Up
4 (000 004) ($00 $04) Key Up
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TABLE 6 TABLE 11
LFO Type menu values Transpose Range values
0 (000 000) ($00 $00) Sine -12 (063 116) ($3F $74) -12
1 (000 001) ($00 $01) Triangle -11 (063 117) ($3F $75) -11
2 (000 002) ($00 $02) Square -10 (063 118) ($3F $76) -10
3 (000 003) ($00 $03) Sawtooth Up -9 (063 119) ($3F $77) -9
4 (000 004) ($00 $04) Sawtooth Down -8 (063 120) ($3F $78) -8
5 (000 005) ($00 $05) Random -7 (063 121) ($3F $79) -7
-6 (063 122) ($3F $7A) -6
-5 (063 123) ($3F $7B) -5
-4 (063 124) ($3F $7C) -4
TABLE 7 -3 (063 125) ($3F $7D) -3
Reflection Type values -2 (063 126) ($3F $7E) -2
-1 (063 127) ($3F $7F) -1
0 (000 000) ($00 $00) Sparse 0 (064 000) ($40 $00) 0 (None)
1 (000 001) ($00 $01) Diffuse 1 (064 001) ($40 $01) 1
2 (000 002) ($00 $02) Random 2 (064 002) ($40 $02) 2
3 (000 003) ($00 $03) Reverse 3 (064 003) ($40 $03) 3
4 (064 004) ($40 $04) 4
5 (064 005) ($40 $05) 5
6 (064 006) ($40 $06) 6
TABLE 8 7 (064 007) ($40 $07) 7
Reverb Type values 8 (064 008) ($40 $08) 8
0 (000 000) ($00 $00) Room 9 (064 009) ($40 $05) 9
1 (000 001) ($00 $01) Chamber 10 (064 010) ($40 $06) 10
2 (000 002) ($00 $02) Small Hall 11 (064 011) ($40 $07) 11
3 (000 003) ($00 $03) Large Hall 12 (064 012) ($40 $08) 12
TABLE 9 TABLE 12
Trigger Mode values Portamento values
0 (000 000) ($00 $00) Polyphonic 0 (000 000) ($00 $00) Off
1 (000 001) ($00 $01) Legato Last 1 (000 001) ($00 $01) Up
2 (000 002) ($00 $02) Legato Low 2 (000 002) ($00 $02) Down
3 (000 003) ($00 $03) Legato High 3 (000 003) ($00 $03) Up & Down
TABLE 10 TABLE 13
Number of Voices value Modulation Routings List and Modulators
0 (000 000) ($00 $00) Unlimited List selections
1 (000 001) ($00 $01) 1 0=first item in list, 1=second list item, etc. This is an offset to
2 (000 002) ($00 $02) 2 the MSB of the parameter. The first 16 Routings are supported.
3 (000 003) ($00 $03) 3
4 (000 004) ($00 $04) 4 INDEX (XXX) ($XX)
5 (000 005) ($00 $05) 5 0 (000) ($00)
6 (000 006) ($00 $06) 6 1 (008) ($08)
7 (000 007) ($00 $07) 7 2 (016) ($10)
8 (000 008) ($00 $08) 8 3 (024) ($18)
4 (032) ($20)
5 (040) ($28)
6 (048) ($30)
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7 (056) ($38) 203 (001 075) ($01 $4B) Filter 1 Resonance
8 (064) ($40) 204 (001 076) ($01 $4C) Filter 1 Overdrive
9 (072) ($48) 205 (001 077) ($01 $4D) Filter 2 Cutoff
10 (080) ($50) 206 (001 078) ($01 $4E) Filter 2 Spread
11 (088) ($58) 207 (001 079) ($01 $4F) Filter 2 CM Amount
12 (096) ($60) 208 (001 080) ($01 $50) Filter 2 Resonance
13 (104) ($68) 209 (001 081) ($01 $51) Filter 2 Overdrive
14 (112) ($70) 300 (002 044) ($02 $2C) Modulator 1 Amount
15 (120) ($78) 301 (002 045) ($02 $2D) Modulator 1 Parameter 1
302 (002 046) ($02 $2E) Modulator 1 Parameter 2
303 (002 047) ($02 $2F) Modulator 1 Parameter 3
304 (002 048) ($02 $30) Modulator 2 Amount
TABLE 14 305 (002 049) ($02 $31) Modulator 2 Parameter 1
Modulation Routing Source values 306 (002 050) ($02 $32) Modulator 2 Parameter 2
307 (002 051) ($02 $33) Modulator 2 Parameter 3
0 (000 000) ($00 $00) Note 308 (002 052) ($02 $34) Modulator 3 Amount
1 (000 001) ($00 $01) Velocity 309 (002 053) ($02 $35) Modulator 3 Parameter 1
2 (000 002) ($00 $02) Mono Pressure 310 (002 054) ($02 $36) Modulator 3 Parameter 2
3 (000 003) ($00 $03) Poly Pressure 311 (002 055) ($02 $37) Modulator 3 Parameter 3
4 (000 004) ($00 $04) Controller A 312 (002 056) ($02 $38) Modulator 4 Amount
5 (000 005) ($00 $05) Controller B 313 (002 057) ($02 $39) Modulator 4 Parameter 1
6 (000 006) ($00 $06) Controller C 314 (002 058) ($02 $3A) Modulator 4 Parameter 2
7 (000 007) ($00 $07) Controller D 315 (002 059) ($02 $3B) Modulator 4 Parameter 3
8 (000 008) ($00 $08) Modulator 1 316 (002 060) ($02 $3C) Modulator 5 Amount
9 (000 009) ($00 $09) Modulator 2 317 (002 061) ($02 $3D) Modulator 5 Parameter 1
10 (000 010) ($00 $0A) Modulator 3 318 (002 062) ($02 $3E) Modulator 5 Parameter 2
11 (000 011) ($00 $0B) Modulator 4 319 (002 063) ($02 $3F) Modulator 5 Parameter 3
12 (000 012) ($00 $0C) Modulator 5 320 (002 064) ($02 $40) Modulator 6 Amount
13 (000 013) ($00 $0B) Modulator 6 321 (002 065) ($02 $41) Modulator 6 Parameter 1
14 (000 014) ($00 $0E) Modulator 7 322 (002 066) ($02 $42) Modulator 6 Parameter 2
15 (000 015) ($00 $0F) Modulator 8 323 (002 067) ($02 $43) Modulator 6 Parameter 3
324 (002 068) ($02 $44) Modulator 7 Amount
TABLE 15 327 (002 071) ($02 $47) Modulator 7 Parameter 3
Modulation Routing Destinations 328 (002 072) ($02 $48) Modulator 8 Amount
0 (000 000) ($00 $00) Pitch 329 (002 073) ($02 $49) Modulator 8 Parameter 1
1 (000 001) ($00 $01) Volume 330 (002 074) ($02 $4A) Modulator 8 Parameter 2
2 (000 002) ($00 $02) Pan 331 (002 075) ($02 $4B) Modulator 8 Parameter 3
100 (000 100) ($00 $64) Oscillator 1 Frequency 400 (003 016) ($03 $10) Global 1 Send
101 (000 101) ($00 $65) Oscillator 1 Random 401 (003 017) ($03 $11) Global 2 Send
102 (000 102) ($00 $66) Oscillator 1 Symmetry
103 (000 103) ($00 $67) Oscillator 1 FM Amount
104 (000 104) ($00 $68) Oscillator 1 Volume
105 (000 105) ($00 $69) Oscillator 2 Frequency TABLE 16
106 (000 106) ($00 $6A) Oscillator 2 Random Time Division Table (MIDI Sync)
107 (000 107) ($00 $6B) Oscillator 2 Symmetry 0 (000 000) ($00 $00) Whole
108 (000 108) ($00 $6C) Oscillator 2 FM Amount 1 (000 001) ($00 $01) Half
109 (000 109) ($00 $6D) Oscillator 2 Volume 2 (000 002) ($00 $02) Quarter
110 (000 110) ($00 $6E) Oscillator 3 Frequency 3 (000 003) ($00 $03) Eighth
111 (000 111) ($00 $6F) Oscillator 3 Random 4 (000 004) ($00 $04) Eighth Triplet
112 (000 112) ($00 $70) Oscillator 3 Symmetry 5 (000 005) ($00 $05) Sixteenth
113 (000 113) ($00 $71) Oscillator 3 FM Amount 6 (000 006) ($00 $06) Sixteenth Triplet
114 (000 114) ($00 $72) Oscillator 3 Volume 7 (000 007) ($00 $07) ThirtySecond
200 (001 072) ($01 $48) Filter 1 Cutoff
201 (001 073) ($01 $49) Filter 1 Spread
202 (001 074) ($01 $4A) Filter 1 CM Amount
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Appendix G: Record To Disk
Record To Disk Overview
Retro AS-1 contains a powerful multimedia feature: Record To
Disk. The Record To Disk function writes the stereo output of
the synthesizer to your hard drive as an audio file. Whatever
the synthesizer engine is playing (notes, chords, riffs,
arpeggiations, etc, on all MIDI channels, including effects) is
written to disk. The audio file can then be opened in any audio
application that supports AIFF (Audio Interchange File Format-
Mac OS) or .WAV (Windows 95), common file formats used in
digital audio applications.
Figure G1. Record To Disk is
This feature is convenient when you want to use your synthesizer accessed from the Synthesizer
menu in the Editor, MIDI
creations “stand-alone” in other digital audio applications without Processor, Mixer, and Keyboard
having to use the Retro AS-1 synthesizer engine at the same time. applications.
Another advantage is there are no digital-to-analog conversions
involved in getting the audio file onto your disk, allowing for the highest
possible fidelity for Audio Compact Disks or multimedia CD-Roms.
The sample rate of the audio file is determined by the Sample Rate
parameter in the Retro AS-1 control panel configuration settings (see
chapter 5.2). For example, if the control panel is set to a sample rate of
44100, then the resolution of the audio file will be 44.1kHz. The file
always records in stereo. In Windows 95, the bit depth of the audio
file is 16 bits; in Mac OS, the bit depth (8, 16, or 24 bit) is specified by Figure G2. The Record To Disk
the Record To Disk Size parameter in the Retro AS-1 control panel I/O save file dialog, where you type a
name and select a destination for
settings (see chapter 5.5). the audio file.
Using Record To
Disk
To use the Record To Disk
feature, select Start Record
To Disk... from the
Synthesizer menu from
within the Editor, MIDI
Processor, Mixer, or
Keyboard applications. A
standard Save File dialog
will appear (figure G2).
Type a name for the file
and select a destination
location.
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After clicking Save, the audio file starts continuously writing to disk.
All synthesizer output, including silence, is written to disk in a linear
fashion until the Stop Record To Disk command is executed.
(Mac OS only) The Apple Menu icon will flash with the
Retro AS-1 icon (figure G3), indicating Record To Disk is
active.
Figure G3. The Retro AS-1 icon
To end the Record To Disk process, select the Stop Record To Disk blinks in the Apple Menu when
command from the Synthesizer menu. This command will be Record To Disk is active (Mac OS
only).
unavailable unless the Record To Disk function is active.
IMPORTANT! Digital audio files can be extremely large. 16-bit stereo

audio files at a 44.1kHz sample rate will require 10 megabytes of
disk space per minute. Make sure you have enough disk space for
the file or you may get a “Disk full” error.
Figure G4. (Mac OS) The output

of Record To Disk is a digital
Previewing the Audio File audio file with the SimpleSound
icon.
The audio file is now on hard disk (figure G4) and can be opened and
played in any digital audio application that supports AIFF (Mac OS) or
.WAV (Windows 95).
(Mac OS only) Retro AS-1 AIFF files are saved with the SimpleSound
creator code which allows you to hear the audio file without 3rd-party Figure G5. The SimpleSound
digital audio applications. SimpleSound (figure G5) is a stock application icon. SimpleSound is
installed in the Apple Menu by
component of the Mac OS that allows you to play and record AIFF the Mac OS.
files. So, to quickly hear the Retro AS-1 audio file, just double-click
the file icon to launch SimpleSound. Then, select Play from the Sound
menu (figure G7) within the SimpleSound application to hear the file.
Make sure ‘CD Quality’ is selected from the Sound menu if you are
auditioning a high resolution file.
Figure G7. (Mac OS) The

Figure G6. The SimpleSound file information window. SimpleSound Play menu. Make
sure CD Quality is selected when
auditioning high resolution files.
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Appendix H: QuickTime Driver
Appendix H: QuickTime™ Driver
This appendix applies to the Mac OS only. It explains how to install,
configure, and use the Retro AS-1 QuickTime™ Driver.
QuickTime Driver Overview

QuickTime movies can contain a variety of multimedia formats such
as video, graphics, text, sound (digital audio files), and MIDI tracks.
When a QuickTime movie contains MIDI tracks (called music tracks
in QuickTime language), the wavetable-based software music
synthesizer built in to QuickTime (the QuickTime Musical Instruments
extension) will play the music tracks.
The QuickTime architecture allows third-party developers (such as
BitHeadz) to develop alternate software synthesizers for use by
QuickTime that are activated by installing QuickTime drivers. Once
the Retro AS-1 QuickTime Driver is properly installed (instructions
below), QuickTime can be configured to use the Retro AS-1 synthesizer
engine to play music tracks instead of, or in conjunction with,
QuickTime Musical Instruments.
The Retro AS-1 QuickTime Driver allows you to play Retro AS-1
programs via MIDI with MoviePlayer and other applications that
playback QuickTime movies. Using the Retro AS-1 QuickTime driver
offers these benefits:
• QuickTime movies can play the great sounds of Retro AS-1 by
themselves or in conjunction with QuickTime Musical
Instruments.
• Using MIDI instead of digital audio files keeps your movies
smaller.
• You can play Retro AS-1 MIDI sequences using MoviePlayer
which is smaller, simpler, and less of a CPU hog than the high-
end sequencers like Performer and Vision. Great for demos.
• QuickTime and MoviePlayer are free, downloadable at
www.apple.com/quicktime.
System Requirements
• Retro AS-1 version 1.02 or higher
• QuickTime version 3.0 or higher
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Installing the driver
To install the driver, drag the Retro AS-1 QuickTime Driver
extension (located inside the Goodies folder) onto the closed active
System Folder icon. The driver will be automatically placed into
Figure H1. The QuickTime
the Extensions folder. You will need to reboot in order for Driver is installed into the
QuickTime to recognize the driver installation. Extensions folder.
Configuring the QuickTIme driver

Retro AS-1 version 1.02 and QuickTime 3.0 must already be properly
installed and configured before proceeding.
NOTE: QuickTime continuously issues launch and quit commands

to alternate synthesizers during configuration and use. For this reason,
we recommend launching the Retro AS-1 synthesizer engine before
and during use of the Retro AS-1 QuickTime Driver. To launch the
synthesizer, open any of the Retro AS-1 applications such as Retro
AS-1 Status (inside the Retro AS-1 Utilities folder). This will keep the
Retro AS-1 engine open, saving time during configuration and use
of the Retro AS-1 QuickTime driver.
Figure H2. The QuickTime
Configuring the QuickTime™ Settings control panel Settings control panel Music
menu.
1. Open the QuickTime
Settings control panel.
2. Select Music from the pull
down menu.
3. Click the Edit List... button.
The QuickTime Synthesizer
window appears, with one line
item showing the QuickTime
Music Synthesizer.
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4. Click the Add button in the
QuickTime Synthesizer
window.
A new line item appears. The new
line item Synthesizer pull-down
menu says “(No Synthesizer).”
5. Select "Retro AS-1" from the
new line item Synthesizer
pull-down menu.
6. Click OK to close the
QuickTime Synthesizer window. Figure H3. The QuickTime
Settings control panel Edit
The Retro AS-1 QuickTime Driver is now properly configured. Synthesizers window.
The QuickTime™ Settings control panel Music window should now

appear as shown in figure H4. We recommend leaving QuickTime
Music Synthesizer selected as the default music synthesizer so all
QuickTime movies with MIDI tracks will play correctly. In this case,
only movies with MIDI tracks specifically assigned to Retro AS-1
programs will use the Retro AS-1 engine.
Figure H4. The QuickTime driver
properly installed and
configured.
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Using the QuickTime Driver
When QuickTime 3.0, the Retro AS-1 synthesizer, and the Retro AS-1
QuickTime Driver are all installed and configured correctly, QuickTime
movies that have MIDI tracks assigned to Retro AS-1 Programs will
use the Retro AS-1 engine for playback.
For the movie to sound as created by the author, the Retro AS-1
Programs used by the movie must be installed on the playback system.
If the QuickTime movie using Retro AS-1 tracks plays on a system
different than the one that created it, the correct programs may or
may not play, depending on the following conditions. The QuickTime
driver searches for Retro AS-1 programs by name. If the program name
is not found (if it is not installed in the Retro AS-1 Programs folder), it
loads the program number. If there is no program at that number
location, it loads program zero, bank zero.
If you want Retro AS-1 sounds in your QuickTime movie but cannot
rely on the destination system to have Retro AS-1 and its QuickTime
Driver installed and configured, use the Retro AS-1 Record To Disk
function to produce AIFF files of the synthesizer output then import
these digital audio files into your QuickTime movie instead of using
MIDI.
Unless the Retro AS-1 engine is already in use by a Retro AS-1
application, each time a QuickTime movie is played containing MIDI
tracks assigned to Retro AS-1 programs, the Retro AS-1 engine is
launched. There will be a delay while the engine launches before sound
is heard. When the movie is closed, the engine is quit. Again, for this
reason we recommend forcing the engine to remain open by launching
a Retro AS-1 application such as Retro AS-1 Status before and during
use of the QuickTime application.
Assigning Retro AS-1 Programs in MoviePlayer

QuickTime 3.0 includes MoviePlayer, an application that plays
QuickTime movies. MoviePlayer allows you to playback QuickTime
movies that have MIDI tracks assigned to Retro AS-1 programs. You
cannot modify MIDI track instrument assignments using the free version
of QuickTime 3.0, but you can play movies that already have Retro
AS-1 assignments. The QuickTIme 3.0 "Pro" upgrade ($29.99 from
Apple at http://www.apple.com/quicktime) allows you modify the
MIDI track instrument assignments and select Retro AS-1 programs
from within MoviePlayer.
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To view or modify instrument assign-
ments within MoviePlayer:
1. Open a QuickTime file containing
MIDI tracks in MoviePlayer.
You can open Standard MIDI Files in
MoviePlayer using the Import... command
in the MoviePlayer File menu.
2. Select "Get Info" (Command-I) from
the Movie menu.
The movie Info window appears.
3. Select "Music Track" from the pull-
down menu at the upper left of the
Info window.
4. Select "Instruments" from the pull-
down menu at the upper right of the
Info window. Figure H5. The MoviePlayer movie information window,
with music track instruments displayed.
5. The current
instrument
assignments for
the movie are
now visible.
Each item in the list
corresponds to a
unique MIDI channel
(figure H5).
6. Double-click and
instrument name
to open the
instrument
assignment
window for the
MIDI channel.
Figure H6. The MoviePlayer

instrument assignment
window.
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Retro AS-1 Manual

7. Select an instrument for the part.
The "Category" and "Instrument" menus correspond to Retro AS-1
Banks and Programs. The items available for selection from these
menus depends on the state of the Retro AS-1 Programs folder when
the Retro AS-1 engine was launched. You can hear the sound by
clicking on the mini keyboard at the bottom of the window.
8. Click OK to close the instrument assignment window.
The track will reflect the change the next time you start the movie.
9. Select Preload from the pull-down
menu at the upper right of the Info
window.
Preload and Cache Hint optimize playback
on small files. Both boxes should be
checked if your movie contains only MIDI
tracks.
10.Remember to save the changes to
your movie if desired.
Done! The QuickTime movie will now use
Retro AS-1 for the MIDI tracks assigned
to it.
Figure H7. Make sure the Preload

option is checked for MIDI-based
Apple has more detailed information about MoviePlayer and QuickTime movies.
online at www.apple.com/quicktime/information/macmovieplayer.
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Appendix I: OMS Names
This appendix applies to the Mac OS platform only. It explains how to setup
OMS applications to view Retro AS-1 programs by name.
About Retro AS-1 OMS Names

Retro AS-1 OMS Names is a utility application that assists you in viewing Retro
AS-1 Programs by name within OMS applications. The application is located
inside the Goodies folder. After running the utility, a text file containing the
current state of the Retro AS-1 Programs folder, both banks and programs, is
generated. The text file can then be pasted into a Patch Names list within an
OMS application.
How To Use It
To use Retro AS-1 OMS Names, double-click the application icon. The Retro AS-
1 Programs folder is evaluated and a text file is generated with the bank and
programs names. The file is placed in the same folder as the Retro AS-1 OMS
Names application.
Open the text file, select all, and copy. The names can then be pasted into an
OMS Patch Names document that have the banks defined. We have provided a
Retro AS-1 OMS Patch Names document that contains the factory banks and
programs. If new banks are added or original banks are deleted, the banks
within this Names document will have to be manually updated by pasting the
newly generated names text into the document from within the OMS application.
OMS patch name documents require carriage returns for each of the 128 programs
in a bank, even if the bank contains less than 128 programs. Retro AS-1 OMS
Names automatically generates these carriage returns in the correct places. If
you open the output file in SimpleText (by double-clicking the document), you
will not be able to see all the programs in all the banks. This is due to a bug in
SimpleText, which will not scroll below the empty carriage returns. However,
the text you can't see in SimpleText is actually in the file. If you select all and
copy, then paste into an OMS names document, all the data will be inserted. If
you open the OMS Names output file in a different word processor, you will see
all the data.
The OMS Patch Names are static, not dynamic, meaning the names or the bank/
program ordering is not updated when the Retro AS-1 Programs folder changes.
Therefore, the utility should be used each time the naming hierarchy of the
Retro AS-1 Programs folder changes. We hope to implement support for the
OMS Names Manager in a future version in order to fully support dynamic
name changes.
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Step by Step Instructions
To install Retro AS-1 factory names into Vision:
1. Install and configure the Retro AS-1 OMS Driver. Figure I.1. The Retro AS-1 factory
patch names file for OMS.
Follow the instructions in chapter 2 of this manual.
2. From within the Vision/StudioVision application,
select Names from the Windows menu.
The Patch Names from OMS window (figur e I3) appears.
(The R etro AS-1 Patch Name Document will not be
displayed until after step 6.)
3. Select Retro AS-1 icon.
Single-click the Retro AS-1 icon to select it..
4. Select Subscribe... from the Names menu.
See figure I.2 .A standar d Open File dialog appears.
5. Navigate to the factory Retro AS-1 OMS Patch
Names file (figure I.1).
The Retro AS-1 Installer placed it in the OMS folder in the
Goodies folder, inside the Retro AS-1 Folder. You can move
it to any location.
6. Select the Retro AS-1 OMS Patch Names file and
click Subscribe.
The Retro AS-1 names list no w contains the factory program names. Figure I.2. The Names menu
within Vision.
7. Close the Patch Names from OMS window.
Done! Retro AS-1 factory programs can now be viewed by name Figure I.3. The Patch Names from
from within Vision (figure I.7). OMS window correctly
configured with the Retro AS-1
factory names file.
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Retro AS-1 Manual

To update program names when the bank hierarchy
has NOT CHANGED:
1. Install the factory OMS names file into
Vision.
Follow the instructions fr om the previous
section.
2. Run the Retro AS-1 OMS Names
application.
A new text file containing the current bank/
program names is gener ated.
3. Open the newly generated Retro AS-1
OMS Names Text file. Figure I.4. The Retro AS-1 OMS
Patch Names window appears
It is placed in the same folder as the Retro AS-1 OMS Names when you double click the AS-1
application. If you open it with SimpleText, you will not see the entire icon in the Patch Names from
contents of the file, but the data is there. This is a bug in SimpleText. OMS window.
4. Select All, then copy the contents of the file.

The data is copied to the Clipboard.
5. From within the Vision/StudioVision application,
select Names from the Windows menu.
The Patch Names from OMS window (figur e I.3) appear s.
6. Double-click the Retro AS-1 OMS Patch Names
icon.
The Retro AS-1 OMS Patch Names window appears
(figur e I.4).
7. Select Paste Patch Names from the Patches menu
(figure I.5).
The contents of the Clipboard is pasted into the R etro AS-
1 Names window, replacing the previous names .
8. Close the Retro AS-1 Names window and save the
changes.
9. Close the Patch Names from OMS window..
Done! Retro AS-1 custom programs can now be viewed by name Figure I.5. The Patches menu is
visible when a device patch list is
from within Vision (figure I.7) open.
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Retro AS-1 Manual

To create a custom OMS Names file from scratch:
1. Run the Retro AS-1 OMS Names application.
A new text file containing the current bank/program names is
generated.
2. Count how many sub-folders are in your Retro AS-1
Programs Folder.
This is the number of installed banks. You will need this number later.
3. From within the Vision/StudioVision application, select
Names from the Windows menu.
The Patch Names from OMS window appears (figure I.3).
4. Double-click the Patch Name column in the Retro AS-1 row.
The Retro AS-1 OMS Patch Names window appears (figure I.4).
5. From the Names menu, add a new bank to the Names
document using Controller
0=0 and Controller 32=0.
See figure I.6.
6. Highlight the FIRST entry
after "default" and then
select DELETE BANK.
Now the 0/0/0 Bank should be
the only one showing.
7. Close and save this new
OMS Patch file.
8. Open the newly generated
Retro AS-1 OMS Names
Text file.
It is placed in the same folder
as the Retro AS-1 OMS Names
application. If y ou open it with
SimpleText, you will not see the
entire contents of the file, but
the data is there. This is a bug in
SimpleText.
9. Select All, then copy the contents of the file. Figure I.6. The Add Bank
window.
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Retro AS-1 Manual

10.From within the Vision/StudioVision application, select
The Patch Names from OMS window appears (figure I.3).
11.Double-click the Retro AS-1 OMS Patch Names icon.
The Retro AS-1 OMS Patch Names window appears (figure I.4).
12.Add Banks to the list (Names menu) using Ctl 0=0 and Ctl
32=1 through X, where X is the number of bank subfolders
you counted in step 2.
If you counted 11 subfolders, you will need to create 12 Banks
because the root level is also a bank (Bank 0).
13.Select Paste Patch Names from the Patches menu (figure
I.5).
The contents of the Clipboard is pasted into the R etro AS-1 OMS
Patch Names window (figur e I.5).
14.Close the Retro AS-1 Names window and save the changes.
15.Close the Patch Names from OMS window..
Done! Retro AS-1 custom banks and programs can now be viewed
by name from within Vision (figure I.7).
Figure I.7. The result of

configuring OMS Names: You can
view Retro AS-1 programs by
name within OMS applications.
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Retro AS-1 Manual

To create an OMS Name List for Steinberg Cubase:
1. Run the Retro AS-1 OMS Names application.
A new text file containing the current bank/program names is
generated.
2. Count how many sub-folders are in your Retro AS-1
Programs Folder.
This is the number of installed banks. You will need this number later.
3. From within Cubase, select Options>Setup OMS>OMS
Patch Names....
The OMS Patch Names window appears.
4. Double-click the Patch Name column in the Retro AS-1 row.
The Retro AS-1 names window appears.
5. From the Names menu, add a new bank to the Names
document using Controller 0=0 and Controller 32=0.
6. Highlight the FIRST entry after "default" and then select
DELETE BANK.
Now the 0/0/0 Bank should be the only one showing.
7. Close and save this new OMS Patch file.
8. Open the newly generated Retro AS-1 OMS Names Text file.
It is placed in the same folder as the Retro AS-1 OMS Names
application. If you open it with SimpleText, you will not see the entire
contents of the file, but the data is there. This is a bug in SimpleText.
9. Select All, then copy the contents of the file.
10.From within the Vision/StudioVision application, select
The Patch Names from OMS window appears.
11.Double-click the Retro AS-1 OMS Patch Names icon.
The Retro AS-1 names window appears.
12.Add Banks to the list (Names menu) using Ctl 0=0 and Ctl
32=1 through X, where X is the number of bank subfolders
you counted in step 2.
If you counted 11 subfolders, you will need to create 12 Banks
because the root level is also a bank (Bank 0).
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Retro AS-1 Manual

13.Select Paste Patch Names from the Names menu.
The contents of the Clipboard is pasted into the R etro AS-1 Names
window.
14.Close the Retro AS-1 Names window and save the changes.
15.Close the Patch Names from OMS window..
Done! Retro AS-1 custom banks and programs can now be viewed
by name from within Cubase b y selecting Retro AS-1 as an
instrument and choosing Open Up Patch.
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Retro AS-1 Manual

Index
Index
Brightness 145, 146
Buffer Length 82
Building Blocks 182
Bypass 93
C
Symbols
Cakewalk 74
1 Pole All Pass Resonant 120
Can’t connect to synthesizer 177
1 Pole High Pass 120
Chamber 146
1 Pole Low Pass 119
Channel 98
Channel menu 155
2 Pole High Pass 120
Channel Strips 163
2 Pole Low Pass 120
Chord 100
Chord menu 155
4 Pole High Pass Resonant 120
Chorus 139
4 Pole Low Pass Resonant 120
Clear 93, 109
A clipping 35
Close 91, 107, 160
Acrobat Reader 14 CM (Cutoff Modulation) Menu 121
Activating MIDI Input 39 CM Amount 122
Add Button 125, 128 Coarse 116
Add... button 97, 101 Comment Field 150
AIFF 197 Comments Window 99
Alert Volume 27 Components 18
All Notes Off 95, 111, 153, 162 Concepts 16, 51, 80, 182
Amount 140, 141 Configuration Display 123
Amount Slider 126, 166 Configuration settings 81
Analog Synthesis Demystified 182 Configuring OMS MIDI applications 58
André Rocke 7 Configuring the Device Driver 70
AppleTalk 53, 87 Configuring the FreeMIDI Driver 63
Application Problems 177 Configuring the OMS Driver 56
Arpeggiation Type Radio Buttons 99 Configuring the QuickTIme driver 200
Arpeggiator Parameters 99 Control Panel 19, 95, 111, 153, 163
Attack 130 Control Panel Concepts 80
audio file 197 Control Panel Overview 79
Audio Hardware Setup 21 Control Panel Reference 79
Audio Output menu 86 Controller A, B, C, D menu 83
Auditioning Sounds 37 Controller A, B, C, D sliders 156
Controllers A, B, C, D overview 83
B Controllers Settings 83
Bank 98 Conventions 48, 105
Bank menu 155, 164 Copy 92, 108
Bank Overview 168 CPU overload 172
Banks and Programs 168 Credits 7
banks via MIDI 171 Cross-Platform Manual 13
Base menu 102 Cubase 59, 77
Basic Editor Operations 42 Cubase Sync Setup 62
Before You Install 30 Cut 92, 108
BitHeadz 20 Cutoff 122
Bookmarks 14
CLICK ANY INDEX ITEM TO JUMP DIRECTLY TO THAT PAGE 212
Retro AS-1 Manual

Index
D Effects Overview 135
Effects Page 135
David Sumich 7 Effects with the Mixer 158
Decay 130, 146 Engine 19
Default MIDI Input menu 86 Envelope Editing radio buttons 109
deinstall 23, 32 Envelope Modulator 129
Delay 138, 139, 140, 143 envelope segment 131
Delete Button 126, 129 Envelopes in Graphical Mode 131
Delete button 97, 101 EQ 137
Depth 138, 139, 140 External MIDI input (Mac OS) 52
Destination Menu 126 External MIDI input (Windows) 67
Device Driver 19, 69, 70
Diffuse 145 F
Digidesign Direct IO 179
Direct IO 179 Features 9
Direct MIDI Input 87 Feedback 138, 139, 140, 143
Direction menu 102 Fernando Martinez 7
DirectSound 30 File Menu 106, 152, 160
DirectX 30 File menu 91
Distortion 142 Filter 142, 144
distortion 35 Filter On/Off button 119
Division menu 103, 132, 141, 144 Filter Parameters 119
DMA 54 Filter Sliders 122
Double note triggers 177 Filter Type menu 119
DSP 8 Filters 183
Filters Overview 118
E Fine 116
Fingered 150
Earl Sondreal 7 First/Upper 101
Edit 99, 101 Flange 138
Edit Effect button 166 FM Amount 118
Edit Menu 92, 108, 152, 161 FM Menu 115
Editing Conventions 48, 105 footswitch 134
Editing Programs 45 FreeMIDI Driver 63
Editing radio buttons 109 FreeMIDI Input 19, 54
Editor 42, 96, 153, 163 FreeMIDI Overview 55
Editor Application 18 Frequency 137
Editor Concepts 105 FX Button 165
Editor Effects Page 135 FX On/Off button 166
Editor Global Page 147
Editor Menu Items 106 G
Editor Overview 104
Editor Preferences 129 Gain 137, 138, 141
Editor Reference 104 Global 110
Effect Amount Slider 166 Global Effect 161
Effect menu 136, 143 Global Effect menu 143
Effect Parameters 136 Global Effects 143
Effect Type menu 166 Global Effects Controls 165
Effects 110, 143, 185 Global Effects don’t sound 178
Effects Controls 165 Global Effects Settings 85
Effects On/Off Button 136 Global Effects with the Mixer 158
Global Level Meter 166
Retro AS-1 Manual

Index
Global Page 147 Legato 134
Global Slider 164 Legato High 148
Graphic Keyboard 154 Legato Last 148
Graphical checkbox 110 Legato Low 148
Graphical Mode 131 Length 145
graphically 129 Level Meter 165, 166
graphics 14 Level Meters 166
LFO Delay 132
H LFO Modulator 132
Hierarchy Overview 168 LFO Speed 132
High 138 LFO Type 132
High Gain 138 List 100, 125, 128
High Key 102 List Record button 100
Highest 103 Low 137
Hysteresis 142 Low Gain 138
Low Key 102
I Lowest 102
IAC Driver 60 M
Important Synthesizer Information 36
Individual Mode 180 Mac OS Installation 22
Input Problems 176 Mac OS Setup 25
Input source checkboxes 122 Mac OS versus Windows 95 15
Input/Output Settings 86 Main 110
Insert Delay 140 Main Page 112
Insert Effect menu 136 Manual 13, 102
Insert Effect Parameters 136 Manual Conventions 12
Installation and Setup 21 Manual Organization 11
Introduction 8 Master FX On/Off button 166
Master Level Meters 166
K Master Section 165
Master Volume Sliders 166
Key Concepts 16 Maximum CPU % 81
Key Up 134 MIDI 17, 50, 199
Keyboard 95, 111, 154, 163 MIDI & Input Problems 176
Keyboard Concepts 152 MIDI applications 58
Keyboard Application 18 MIDI Channel 88, 93, 109, 148
Keyboard Menus 152 MIDI Channel menu 110
Keyboard Overview 151 MIDI Clock Sync via OMS 60
Keyboard Parameters 154 MIDI commands 171
Keyboard Reference 151 MIDI Concepts 51
MIDI Control examples 188
L MIDI Control Numbers 188
Large Hall 146 MIDI Flow 52, 67
Last 102 MIDI Hardware Setup 22
Last Key 102 MIDI Implementation 187
Latch 93 MIDI Implementation Chart 187
latency 82, 176, 181 MIDI Input 15, 39
Launch Retro AS-1 Status 87 MIDI input (Mac OS) 52
Layer 101 MIDI input (Windows) 67
Layer radio button 98 MIDI Input menu 86
Retro AS-1 Manual

Index
MIDI Input Port 68 N
MIDI Mapper 69
MIDI Overview 50 New 91, 107, 160
MIDI Processor 112, 154, 163 New On Startup 93, 109
MIDI Processor Application 18 No sound output 175
MIDI Processor Concepts 90 Non-Registered Parameter Numbers 189
MIDI Processor Files 90 not enough polyphony 177
MIDI Processor Menus 91 Note pull-down menu 110
MIDI Processor Overview 89 Notes menu 101
MIDI Processor Reference 89 NRPN control 189
MIDI Processor Settings 88 NRPN examples 190
MIDI Processor Setups 89 NRPN Tables 191
MIDI Program Change Selects Setup 88, 94 Number Of Voices 81, 149
MIDI slider 35
MIDI Software Integration (Mac OS) 55
O
MIDI Software Integration (Windows) 69 Off 99
MIDI Sync checkbox 103, 132, 141, 144 OMS Overview 55
Mix 139, 140, 142 OMS applications 205
Mixer 96, 112, 153 OMS Driver 56
Mixer Application 18 OMS IAC Driver 60
Mixer Concepts 160 OMS Input 19, 54
Mixer Files 16 OMS MIDI applications 58
Mixer Menus 160 OMS Names 205
Mixer Overview 157 OMS Patch Names 206
Mixer Reference 157 On/Off Button 136
Mixer with the Editor 158 Opcode Vision/StudioVision 58
Mode radio buttons 97 Open 91, 107, 160
Modifying Envelopes in Graphical Mode 131 Optimizing Overview 172
Modulation 110, 183 Optimizing Performance 172
modulation amount 126 Oscillator Keyboard Track button 114
modulation destination 124 Oscillator On/Off button 113
Modulation Page 124 Oscillator Overview 112
Modulation routings 124 Oscillator Parameters 113
modulation source 124 Oscillator Sliders 116
Modulator Add Button 128 Oscillator Type Menu 114
Modulator Delete Button 129 Oscillator Volume 118
Modulator Trigger Menu 133 Oscillators 182
Modulator Type Menu 129 Output 15, 17, 185
Modulators 127 Overdrive 123, 141
Modulators List 128
Modulators Parameters 127 P
Monitors & Sound control panel 27
monophonic 134 Package Contents 11
MoviePlayer 199 Page Menu 110
multimedia 199 Pan 149
Multimedia Control Panel 69 Pan Slider 165
Multiple 133 Parameter Editing Conventions 48, 105
Mute Button 165 Parameter slider 48
Parametric EQ 137
password 23
Paste 93, 108
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Index
patchcords 124 Real-World Examples 74
Pedal 102 Record button 100
Pedal Down 134 Record To Disk 197
Pedal menu 84, 94 Record To Disk Overview 197
Pedal Up 134 Reflection 144
Performance 79, 172 Reflection Mode 144
performance is poor 177 Release 130
Performance Variables 172 Rename... button 97
Phaser 139 Reset 95, 111, 153, 162
Play With Spacebar 94, 110 resolution 26
Played 99 Resonance 123
Polyphonic 147 Retro AS-1 Application Problems 177
Polyphony 17 Retro AS-1 Control Panel 19
Polyphony Problems 177 Retro AS-1 Device Driver 70
Poor “live play” response time 176 Retro AS-1 Engine 19
Poor sound quality 175 Retro AS-1 FreeMIDI Input 54
Port is in use by another application 176 Retro AS-1 Keyboard 151
Port menu 55 Retro AS-1 OMS & FreeMIDI drivers 19
Portable Document Format 14 Retro AS-1 OMS Input 54
Portamento 149 Retro AS-1 OMS Names 205
Portamento Type 150 Retro AS-1 OMS Patch Names 206
Predelay 145, 146 Retro AS-1 Programs 19
Preferences 93, 109, 129, 161 Retro AS-1 Programs folder 168
Problems 175 Retro AS-1 QuickTime Driver 199
Program 98 Retro AS-1 Serial Input 53
Program Files 16 Retro AS-1 Status 18, 87
Program menu 155, 164 Retro AS-1 Variables 172
Program Overview 168 Retro AS-1 Windows Device Driver 19
Programs 19 Reverb 145
programs via MIDI 171 Reverb Mode 146
Reverse 145
Q Revert 92, 108
Q 137 Room 146
Quick Start 36 Root menu 100
QuickTime Driver Overview 199 Routing Add Button 125
QuickTime™ Driver 199 Routing Amount Slider 126
Quit 92, 108, 161 Routing Delete Button 126
QWERTY 154 Routing Destination Menu 126
Routing Source Menu 126
R Routings 125
Routings List 125
Ramp Delay 133 Routings Parameters 124
Ramp Modulator 133
Ramp Speed 133 S
Random 116, 145
Random checkbox 132 Sample Rate 81
Random Modulator 133 Save 91, 107, 160
Random Modulator Filter 133 Save As 91, 107, 161
Randomize 109 Save As ‘New’ Template 91, 107
Range menu 103, 155 Screenshots 13
Rate 110, 129 Second/Upper 101
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Retro AS-1 Manual

Index
Select All 109 Stop Record To Disk 95, 111, 153, 163
Selecting banks and programs via MIDI 170 StudioVision 58
Send 143, 144, 146 StudioVision Sync Setup 60
Serial DMA 54 Suggested System Enhancements 11
Serial DMA driver 176 Sustain Decay 130
Serial Input 19, 53 Sustain Level 130
Setting up MIDI Clock Sync via OMS 60 Symmetry 116
Setup 21 Sync checkbox 103, 132
Setup Files 16 Sync Menu 115
Setup Layers 98 Sync Setup 60
Setup List 96 Synthesis Demystified 182
Setup List Parameters 96 Synthesizer 16
Shelf EQ 137 Synthesizer Information 36
Single 134 Synthesizer Menu 95, 152, 162
Single Mode 97 System Alert 29
slider 48, 106 System Exclusive Commands 189
slider values 106 System Performance 79
Sliders 116, 122 System Requirements 10
sliders 129
Small Hall 146 T
Software Components 18 Tempo slider 103
software components 33 Theo Byassee 7
Software Credits 7 Threshold 141, 142
Software Installer 31 Time 110, 129
Software Integration (Mac OS) 55 Tone 142
Solo Button 165 Transpose 99, 149
Sound control panel 25 Trigger button 103
Sound Manager 25 Trigger Menu 133
Sound output is choppy 176 Trigger menu 102
Sound Output Quality 28 Trigger Mode 147
Sound Problems 175 Troubleshooting 175
Source Menu 126 Type Menu 129
Sparse 145
Special Thanks 7 U
Speed 138, 139, 140
Split 101 Undo 92, 108
Split Mode 98 Uninstall 23
Split Note menu 98 Up & Down 150
Split/Layer Parameters 97 Use current synth settings 162
Spread 122 Use default settings 162
Stand-Alone Operation 68 Use Direct MIDI Input 87
Start Record To Disk 95, 111, 153, 162 User Interface 15
State Variable BP (Band Pass) 121 Using Record To Disk 197
State Variable BS (Band Stop) 121 Using the Mixer with the Editor 158
State Variable HP (High Pass) 121 Using the QuickTime Driver 202
State Variable LP (Low Pass) 121
Status 18, 95, 111, 153, 163
V
Steinberg Cubase 59 velocity 154
Stereo Mode 180 Virtual Memory 176
Steve O’Connell 7 Vision 58
Stop button 103 Vision Sync Setup 60
217
Retro AS-1 Manual

Index
Volume 149
Volume Control 34
Volume Slider 165
Volume Sliders 166
Volumes in Windows 95 34
W
Warn About AppleTalk 87
Warn about effect editing control 162
Warn about missing banks and programs 162
WAV 197
Welcome! 8
Where to go 49
Will Puckett 7
Windows 95 Installation 30
Windows 95 Setup 34
Windows Device Driver 19
Windows Menu 96, 112
Windows MIDI Mapper 69
Working with Banks and Programs 168
Working with MIDI 50
218
Retro AS-1 Manual

Index
219
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User Manual

Retro AS-1 Version 1.1

Manual Version 980825

Chapter 1. Introduction ...................................................................................................... 12

Chapter 2. Installation and Setup ....................................................................................... 25

CLICK ANY CONTENTS ITEM TO JUMP DIRECTLY TO THAT PAGE 3

Retro AS-1 Manual

Chapter 3. Quick Start ........................................................................................................ 40

Chapter 4. Working with MIDI ........................................................................................... 54

CLICK ANY CONTENTS ITEM TO JUMP DIRECTLY TO THAT PAGE 4

Retro AS-1 Manual

Chapter 5. Control Panel Reference .................................................................................... 83

Chapter 6. MIDI Processor Reference ................................................................................. 93

Chapter 8: Keyboard Reference ..........................................................................................155

Chapter 9. Mixer Reference ............................................................................................... 161

Appendix B: Optimizing Performance ...............................................................................176

Appendix C: Troubleshooting ............................................................................................179

Appendix D: Using Digidesign Direct IO............................................................................183

Appendix E: Analog Synthesis Demystified .......................................................................186

Appendix F: MIDI Implementation .................................................................................... 191

Appendix G: Record To Disk .............................................................................................. 201

Appendix H: QuickTime™ Driver .......................................................................................203

Appendix I: OMS Names ...................................................................................................209

Special Thanks to:

CLICK ANY CONTENTS ITEM TO JUMP DIRECTLY TO THAT PAGE 7

Retro AS-1 Manual

1.1 Welcome! The official Retro AS-1 logo

Retro AS-1 Manual

Retro AS-1 Manual

1.3 System Requirements

Retro AS-1 Manual

Suggested System Enhancements

1.4 Manual Organization

Chapter 1: Welcome to Retro AS-1!

Chapter 2: Installation and Setup

Chapter 3: Quick Start

Chapter 4: Working with MIDI

Retro AS-1 Manual

1.5 Manual Conventions

Retro AS-1 Manual

Even though they look slightly different, Mac OS and

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• The graphics (screenshots and illustrations) look best

• The manual can be printed for “hard copy” from

Click the bookmark triangles to expand

Click and hold the

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Use it like an instrument

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Retro AS-1 Editor Application

Retro AS-1 MIDI Processor Application

Retro AS-1 Keyboard Application

Retro AS-1 Mixer Application Retro AS-1 Mixer

Retro AS-1 Manual

Retro AS-1 OMS & FreeMIDI drivers (Mac OS only)

Retro AS-1 Windows Device Driver (Win 95 only)

Retro AS-1 Control Panel

Retro AS-1 Programs

Retro AS-1 Engine

Retro AS-1 Manual

Retro AS-1 Manual